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Cabinet of Dr. Caligari, The (1919) (***, horror, silent) (D.-Robert Wiene, Werner Krauss, Lil Dagover, Conrad Veidt) Salvador Dali had nothing over Wiene's surrealistic German horror classic. Odd architectural angles, bizarre patterns and designs, painted back drops, and a story out of a mad man's mind, all add truly unsettling elements. Based in part on the expressionistic der Sturm movement of the period. Dr. Caligari terrorizes a German town and ultimately a young couple with his murderous sleep-walking zombie who is referred to as a somnambulist, but is closer to our zombie. Nothing is as it seems, and many of the scenes are masterfully unsettling. The carnival drawing of the sleep walker has great kinship with Edvard Munch's The Scream. It has been suggested that Cabinet is an allegorical tale of the tyrannical post war government's (Caligari) control of the passive population (the sleepwalker). While this may make sense in historical context, it does not seem to hold water now. Indeed, the modern viewer is more likely to see it as a savaging of a government so bureaucratically inept that only intervention of the populace can save it. Cabinet shows much better now than many silent movies because the surrealism overshadows the stylistic period acting. Indeed, Cabinet is avant-garde to many modern viewers. Incidentally, one of the alleged reasons for the odd crafting was supposed to be a very low budget that precluded outside shooting. Regardless, bizarrely off the wall. (6-21-93) Beginning

Caddyshack (1980) (**1/2, comedy) (9-11-00) (D.-Harold Ramis; Chevy Chase, Rodney Dangerfield, Ted Knight, Michael O'Keefe, Bill Murray, Cindy Morgan, Sarah Holcomb, Scott Colomby, Brian Doyle-Murray, Chuck E. Rodent) Caddyshack was an attempt to do to the golf scene what Animal House did to the college scene. Let me begin by saying that humor is very individualized. Rodney Dangerfield, who plays a pivotal role, is one of my least favorite comedians and this has an impact on my rating. Many others consider this one of the funniest films ever made and many love Dangerfield’s humor.

A posh country club founded by a pompous judge (Knight, the idiot Ted Baxter newsman from The Mary Tyler Moore Show) is being eyed by abrasive, self-made developer (Dangerfield). Throw in an unfocused club pro (Chase), a gopher devastating the grounds, an unhinged grounds keeper (Murray), a caddy scholarship, the judge’s nubile niece, and you have the loose frame on which the film is built. Plot is largely irrelevant. Caddyshack is generally a collection of shtick with the actors doing their own thing.

There are some comedic gems in this film. Murray’s spaced out, paranoid performance is inspired as he tries to kill the gopher. In a battle of wits, Murray is out of his league as he goes to increasingly more extreme methods. The scene where Chase is hacking away on the green in the middle of the night and accidentally hits a ball into Murray’s lair (home is not appropriate) is delightful. The entire scene is shot in one continuous take and these two gifted comedians improvised much of the scene. On the 19^th anniversary feature with the film, we get a delightful replay of another version of the scene; note in particular the bush cutter the psychotic Murray carries, which didn’t show in the final. Murray hacking down the flowers with a running monologue on his golf prowess is masterful (check out the arithmetic). It is also improv. The entire scene had about two lines in the script—something to the effect that Murray hacks down the flowers.

Review based on the 19^th anniversary release VHS available at Beyond Video in Willoughby Shopping Center on 5^th street. My recommendation is to watch the film, then watch the 30 minute intro at the beginning of the tape. It has many delightful moments that are better appreciated if the film is fresh in your mind. The gopher, incidentally, was state-of-the-art animatronics at the time. I had always assumed it was that primitive for the humor, and that element certainly does work.

So if you are in to off-the-wall humor and especially like Dangerfield, check it out. "Can I play through?" Beginning

Call Northside 777 (1948) (**1/2, docudrama, crime, film noir) (D.-Henry Hathaway; James Stewart, Richard Conte, Lee J. Cobb, Helen Walker, Moroni Olsen, E. G. Marshall) Beautifully photographed and well-acted drama of innocent man convicted of murder by a single eyewitness. Along with Hitchcock's The Wrong Man, these films make me cringe at the thought of being brought to trial on the evidence of an eyewitness, which is the most unreliable yet least contestable of evidence. The title comes from a newspaper ad offering a reward for proof of his innocence. Stewart, a hot-shot reporter, is sent to find out what's going on. It is the mother, a poor cleaning lady, who wants to prove her son innocent. Stewart gradually becomes convinced that the young man is innocent and starts a campaign to have him released. The ending is complete with literally a high tech "photo" finish. I think the film worked pretty well up to the conclusion where it seemed very contrived and artificial just to get suspense. Ultimately, the film leave several major issues completely untouched. Since two men, who had the same alibi, were convicted of the murder, why wasn't the second one released and what ever happened to him? (4-15-96) Beginning

Caine Mutiny, The (1954) (****, drama, war) (D.-Edward Dmytryk; Humphrey Bogart, José Ferrer, Van Johnson, Robert Francis, May Wynn, Fred MacMurray) First rate film version of Herman Wouk's Pulitzer Prize novel, which survives conversion to a play and then film. The film suffers from an unnecessary romance not in the original. Nevertheless, riveting. Captain Philip Francis Queeq (Bogart) takes command of the aging, delapidated minesweeper U.S.S Caine during WWII. Queeg is a paranoid compulsive (possibly also suffering battle fatigue) who promptly succeeds in turning his officers and crew against him. MacMurry, the snake in the garden, helps turn the executive officer Lt. Steve Maryk (Johnson). The conflict builds inexorably to a crisis during a typhoon where Bogart freezes and Johnson and a junior officer (Francis) seize control. The two officers are courtmartialed for mutiny (an executable offense). They are defended by an unhappy Lt. Barney Greenwald (Jose Ferrer). The courtroom scenes are superb and Bogart's performance is Academy Award class. You will long remember the end and the steel ball bearings. Superb performances throughout, great drama, and typhoon scenes that still grab the throat. Also, there is plenty of room for discussion of who was right and wrong afterwards. (5-22-95) Beginning

Cane Toads or Cane Toads: An Unnatural History (1988) (12-31-01) (D.-Mark Lewis) (***1/2, documentary) I believe the cover said something like “Monty Python meets the Nature Channel”. A perfect summary. Another alien invasion. Giant poisonous toads on the march taking over Queensland, Australia on their way to complete domination of the country. You think I’m joking? No way. Toads is a blackly humorous look at an ecological disaster of Biblical proportions in the making. The toads were introduced in the 1930s by misguided scientists to control the cane beetle. Only due to a small ecological miscalculation, they didn’t. However, with no natural enemies what they do is reproduce in staggering numbers. We get the local viewpoints that range from affection to searing hatred. They are used for everything from pets, baby dolls, to target practice on the roads. Oh, did I forget to mention, that possession of their toxin for self-ingestion is punishable with up to life-imprisonment, the same as for heroin.

Toads is a unique film. You get ecology, psychology, sociology, and just plain weird human nature all rolled into one. You also get a pretty good toad’s eye view of the whole thing. All of this put in an iconoclastic wrapper that will leave you wondering from what direction the next revelation will come. Review based on the DVD at Sneak Reviews. The DVD also has a quirkily entertaining little short Signing Off. As an aside, the Australian film The Last Wave has strange background noises and numerous hopping toads. We suspect that they are probably Cane Toads, which would have given them much more significance to the Australian audience.

Cape Fear (1962) (***1/2, suspense, noir) (D.-Lee Thompson, Gregory Peck, Robert Mitchum, Polly Bergen) Peck and Bergen and their teenage daughter have a nearly idyllic life in a small southern town. Their tranquillity is shattered when a vengeful ex-convict, Max Cady, returns to extract revenge on Peck who helped send him to jail eight years earlier. Cady begins a devastatingly effective war of nerves focusing on Peck's weakest point, his wife and pubescent daughter. Mitchum's Cady is the essence of evil. Pure, distilled, and coolly malevolent. He projects the vilest of intentions in the calmest and most reasoned voice. Cady's description of his reunion with his ex-wife is an absolutely chilling understated horror. Peck tries to thwart Cady with increasingly desperate civilized, and then finally uncivilized, remedies. None prove effective and the climactic finale is set in the Cape Fear swamp. The original Cape Fear is a masterful grade B thriller that delivers shock, fear, and loathing undiluted by the 30 years since its appearance. Scorsese's Cape Fear may be more polished and artistic, and De Niro's Max Cady may be somewhat more refined. However, the modern Cape Fear never really rises above the grade B origins of the original and ultimately fails in its attempt to add something new and insightful. In my opinion Scorsese would have been better served to have chosen a lesser piece to remake. Check out the original. (3-7-93) Beginning

Cape Fear (1991) (**1/2, crime, drama) (D-Martin Scorcese; Robert DeNiro, Nick Nolte, Jessica Lange) A stylish remake of the 1962 solid grade B thriller Cape Fear with Gregory Peck and Robert Mitchum. Scorcese's masterful touches are evident throughout, and DeNiro gives his usual electrifying performance as the vengeful Max Caddie out to get even with the lawyer who helped send him to prison 14 years earlier. Caddie has become a self educated, bible thumper in the intervening years. The change from psychopath to a born again vengeful psychopath has not improved him. He is more literate, more manipulative, more cunning, and far more dangerous. His manipulation of the lawyer and his family is masterful. In the end, however, it seems no more than a well done, but derivative grade B thriller. Mitchum and Peck have cameo roles. A must for fans of Scorcese and DeNiro who once again sculpts himself into the part--in this case physically. Another movie with many of the same overtones is Night of the Hunter (1955 ***) which incidentally starred Mitchum as the killer. Beginning

Captain Blood (1935) (***1/2, action) (12-26-03) (D.-Michael Curtiz; Errol Flynn, Olivia De Havilland, Lionel Atwill,Basil Rathbone) Classic swashbuckler that made Errol Flynn a star and set standards for years to come. Based on Rafael Sabatini's novel. Action. Romance. Spectacular battle sequences. Doctor Peter Blood (Flynn) ministers to a wounded rebel during an English civil war. He might have gotten off except for an impulsive mouth that runs way ahead of common sense. A close encounter with the noose doesn’t improve his brain power. He must be running on the philosophy of never stroking those who hold your fate when you can insult them. Fortunately, common sense is not what he excels in but physical prowess and skill, which prove more useful. De Havilland is lovely and her pompous father (Atwell) is a hoot. The romance is believable. Rousing score by Austrian composer Erich Wolfgang Korngold.

The fight between Rathbone and Flynn is beautifully choreographed and the climactic sea battle manages to look good even by modern standards, although much of it is done with miniatures in a tank. Beginning

Cars That Ate Paris, The (1974) (**, black humor) (D.-Peter Weir; Terry Camilleri, John Meillon, Melissa Jaffa, Kevin Miles) Paris, Australia that is. Weir's first film. Paris is a deprived small town that makes ends meet by causing auto accidents and selling off the salvage. American Gothic Australian style. And on top of that you thought our kids were unruly and poorly mannered. Not compared to Paris. While there are a few amusing moments, Paris never really works and is likely to be of interest only to followers of Weir's marvelous career (e.g. Picnic at Hanging Rock, Witness, The Year of Living Dangerously). As an aside, I would be surprised if Paris wasn't very influential in the Mad Max series. A lot of the visual images look like they were lifted from here. In addition, while I cannot find his name on the credits, I am sure that the crazed gyrocopter pilot from Mad Max 2 and Mad Max Beyond Thunder Dome was in Paris--and not any too well balanced here I might add. (5-27-95) Beginning

Casablanca (1942) (****, drama, romance) (D-Michael Curtiz, Humphrey Bogart, Ingrid Bergman, Paul Henreid, Claude Raines, Conrad Veidt, Peter Lorre) Academy Awards for Best Picture, Directing, and Screenplay. "Play it again, Sam." Probably the most misquoted line of modern times. However, Casablanca probably has more quoted lines than any other movie around. Casablanca is 50 years old. To celebrate, it has been restored and rereleased as a flawless set of prints. Unfortunately, it was here and gone at the regular theater so fast no one noticed, and then just played at Vinegar Hill. Sorry, you couldn't learn about it in time. However keep your eyes open, it will certainly be back at Vinegar Hill. Not all movies were meant to be in color and this is one that has to be in black and white. The screen positively glows. Not just with the superb cinematography, but with stellar acting, crisp dialogue, sharp wit, and a doomed romance worthy of the name. Jaded Rick (Bogart) runs a casino in Morocco in 1942. The Vichy government runs things and kowtows to the Nazi, but otherwise it is a very Byzantine, free wheeling place. Rick's life is turned upside down when Walter Lazlo, a Czechoslovakian fire brand, and his wife Ilsa (Bergman) turn up trying to escape to America. Unfortunately, she and Rick had a hot affair during the fall of France, and she dumped him under mysterious circumstances. Rick wants Ilsa, the Nazi's want Lazlo, Lazlo wants to get out with his cause and his wife, Ilsa wants Rick and Lazlo, and the local police chief (Raines) wants business (which is very lucrative indeed) as usual. The plot revolves around this devil's brew with Rick having the ability to get exactly two people out of Morroco. The chemistry between Ilsa and Lazlo or Rick is truly believable. Raines does a super job as the manipulative, opportunistic chief. "As Time Goes By" done by Dooley Wilson will bring tears to your eyes. As time goes by (50 years!), this remains an outstanding example of cinematography as entertainment and art that only occasionally shows it age. If you have only seen the commercial TV version, you have not seen this movie. When you get the chance, don't miss it at a theater. It will be one of the finest evenings that you have spent in a long time. It is worth trampling little old ladies to see this on a big screen. (8-28-92) Beginning

Casanova (2005) (***1/2, historical comedy) (6-12-06) (D.-Lasse Hallstrom; W.- Jeffrey Hatcher and Kimberly Simi; Heath Ledger, Sienna Miller, Jeremy Irons, Oliver Platt, Lena Olin, Charlie Cox, Natalie Dormer) Bawdy Shakespearean-like romp with the bard's usual problems of cross dressing, mistaken identities, love lost, love found, sword fights, etc. I cannot believe how little time it spent in the local theaters compared to some of the tripe that just won't die-like Jason; I missed Casanova completely. The year is 1753 and Casanova has worn out his welcome with the Venice city fathers and the Church, but not with the local young ladies. He is about to find himself on the horns of a multi-pronged dilemma. Casanova must line up a suitable bride to acquire respectability if he wishes to continue living in Venice. He lines up a suitable prospect, but he is about to meet a crossing-dressing feminist who is more than his match. Then the Lard King of Geneo (Platt) is about to roll over his best laid plans. And the capstone of events is that the Church, with the able help of the inquisitor Bishop Pucci (Irons), is preparing to permanently eliminate this thorn in their virtue. Enough of plot. Casanova is high energy. The humor ranges from pure slapstick to droll gems. The dialogue swings from the pompously straight to the Monty Pythonesque, frequently in the same line. The critical chemistry between Ledger and Miller works; here are two people who deserve each other. The supporting cast is marvelous with Irons and Platt being gems. Olin does a fine job as Francesca's mother. The film was shot entirely in Venice and the scenery is marvelous. The inside information on the DVD is both informative and entertaining. Some have complained about the poor backdrops and masking, but at least on DVD, it looked great. The film has been savaged by some critics. However, for me, any movie that can successfully pull off the following exchange with a straight face, cannot be all bad: The grand inquisitor is trying to sort out the rather cryptic behavior of Casanova and asks his second, "Is there anybody here who can explain all of this?" To the deadpan answer "You sent them away to be eaten", he responds "Ah well."

My suspicions are that if you liked Shakespeare in Love, you will similarly enjoy Casanova. Beginning

Cast a Dark Shadow (1955) (***, suspense) (D.-Lewis Gilbert; Dirk Bogarde, Margaret Lockwood, Kathleen Harrison, Kay Walsh, Robert Flemyng, Mona Washbourne) Bogarde is a sociopathic opportunist who marries rich, older Washbourne. He will stop at nothing to insure his continued opulent life style. His life is greatly complicated by one major error and two new women (Lockwood and Walsh). Bogarde make a fine sociopath. Intelligent. Charming. Cunning. The plot is sufficiently convoluted and unbalancing that I won't give any more away. Even when we thought we had it figured out, we were generally wrong; although there is some disagreement over whether our versions were better than the director's. (7-17-98) Beginning

Cast Away (2000) (****, drama) (2-5-01) (D.-Robert Zemeckis; Tom Hanks, Helen Hunt, Chris Noth, Nick Searcy) One of the best films of 2000. The only actor on the screen for about half of the 140 minute running time is Tom Hanks. Only an actor of Hanks’ stature would have the chutzpah to try this and the ability to pull it off. Since the plot has been widely publicized, I will mention only a couple of key elements. Chuck Noland (Hanks) is a super type-A trouble shooter for Fed Ex. This is beautifully demonstrated just by his behavior in the first half hour. Finally, he leaves his fiancee, Kelley Frears (Hunt), on the tarmac and takes a Christmas flight on one of his planes. The plane goes down over the trackless Pacific. The only survivor, he washes up on a deserted island. This leads to the bulk of the film where he discovers his plight and learns to survive. Ultimately, after 4 years, he escapes, is rescued, and is presented with his old job and a not totally unexpected situation with his fiancee. Sounds dull and boring, eh? It isn’t. My wife and I were captivated from the opening minutes to the finale. Cast Away is a beautifully rendered character study, although it has moments of sheer terror and suspense as he tries to survive.

The beginning beautifully reveals his character, which is as a man who follows the business motto "We live and die by time." For a man of this temperament to be cut off completely from daily time makes his situation worse than the ninth circle of hell. One of the many exceptionally perceptive, and sometimes humorous, scenes occurs shortly after he lands on the island; he is barely surviving, but he continues to do his work of seeing to it that packages are prepared to reach their destinations. He will shortly and irrevocably learn the limits of his power.

Hanks’ performance is stunning. Oscar caliber. Beautifully nuanced, realistic. Ever so much is conveyed without words. He is completely human and totally believable. A man whose weaknesses and foibles we can relate to, yet forgive, because of his innate humanity. Ultimately a survivor. The script is excellent. The stellar cinematography beautifully supports and aids story development. Music, when present flows realistically out of the surroundings.

Some think the movie falters when he returns. I thought that was handled realistically except for the resolution with his fiancee, which I thought Hollywoodish. My wife disagrees. So, as with many films, everyone sees the same thing but comes away with different conclusions.

The ending was perfect. Stark. Beautiful. Ambiguous. It has an elegant symmetry with the opening.

Filming was stopped for a year while Hanks lost 50 pounds and sculpted his body into the bronzed Adonis we see after the passage of 4 years on the island. Incidentally, Cast Away is the biggest, most brazen product endorsement in a film that you will ever see. However, they get away with it because the product is central to the story.

I will be honest, my wife and I avoided going to see Cast Away because we could not imagine it being interesting. Don’t make our mistake. Rush out and see an Oscar level film on the big screen where it must be seen to be appreciated. Beginning

Abbott and Costello Meet Frankenstein (1948) (***, comedy) (2-5-01) (D.-Charles Barton; Bud Abbott, Lou Costello, Lon Chaney, Jr., Bela Lugosi, Lenore Aubert, Jane Randolph, Glenn Strange, Frank Ferguson) Tooth, fang, and fur farce. For lovers of the humor of Abbott and Costello, a classic. Lou is about to find himself an unwilling brain donor; the choice of Lou makes perfect sense. We get an ensemble cast of monsters including Dracula (Lugosi), the Werewolf (Tabot), and Frankenstein (Strange) plus assorted gorgeous women who want Lou, but for very different reasons. Good sets and top of form for the two protagonists makes an entertaining evening. Lou’s phone conversation with Tabot is a gem. Vincent Price has an unbilled voice-only role.

Actually Frankenstein was played by two actors. When Strange was throwing the woman through the window, it proved more difficult than expected and he broke his ankle. Chaney replaced him for the rest of the film. Apparently, if you look closely you can distinguish the substitution. Review based on excellent AMC showing. Beginning

Cat and the Canary, The (1927) (***, horror, humor, classic, silent) (11-26-01) (D.-Paul Leni; Laura La Plante, Creighton Hale, Forrest Stanley, Tully Marshall, Gertrude Astor, Flora Finch, Arthur Edmund Carewe, Martha Mattox, George Siegmann, Lucien Littlefield) Dear rich old Cyrus has croaked and the relatives gather in the creaky old house like vultures over road kill. Who will get the estate? As it turns out, it could depend on who lives through the night. A loose madman, a maid that would make Attila the Hun cringe in terror, and other assorted oddballs, misfits, and social climbers form the tapestry over the decaying, drafty mansion with more secrets than past-curfew teenagers in front of their parents. Stylish. Tongue-in-cheek. With a few genuine starts. It has been said about Cat that the actors still hadn’t learned to avoid that extreme physical style of silent films. On the contrary. I think they knew exactly what they were doing and were playing it as much for laughs as for shock, although the audiences then probably did have nightmares afterwards. Cat is the prototype for countless other films both in story line and style. Cat coupled with the classic talky, The Old Dark House, form the basis of probably more horror movies and sets than any other topic. Cat is available on laser disk at Clemons and is well worth the time and attention of all lovers of horror. Beginning

Cat Ballou (1965) (***1/2, comedy, Western) (3-27-00) (D.-Elliot Silverstein; Jane Fonda, Lee Marvin, Michael Callan, Dwayne Hickman, Tom Nardini, John Marley, Reginald Denny, Jay C. Flippen, Arthur Hunnicutt, Bruce Cabot) Entertaining parody. I won’t go into too much plot since it is old enough that most readers won’t remember the movie or the wildly popular song, The Ballad of Cat Ballou. Suffice it to say that a school teacher, Cat Ballou (Fonda), turns outlaw after an evil meat packing baron destroys her life. She is aided by a couple of ersatz outlaws (Callan, Hickman), an Indian friend of the family (Nardini), and – how to put it delicately— one down-on-his-luck gun fighter Kid Sheleen (Marvin). Marvin received best actor Oscar for his performance, and it is priceless. I was in stitches whenever he was on the screen. Marvin was masterful as he shifted his character. The funeral is a delightful piece of black humor. The one image that will always remain with me from the film is Kid Sheleen on his horse. I have no idea how they did it.

Nat King Cole and Stubby Kaye are strolling minstrels who comment on the situation through their singing as the situation unfolds, much like a Greek chorus. Beginning

Catch Me If You Can (2003) (12-30-02) (***, docudrama) (D.-Steven Spielberg; Leonardo DiCaprio, Tom Hanks, Christopher Walken, Nathalie Baye, Jennifer Garner, Amy Adams, Martin Sheen) Well done although overlong story of perhaps one of the most stunning young con men of all times, Frank Abagnale Jr. (DiCaprio). He was 16 when he started, and by the time he was caught three years later, he had swindled over 4 millions dollars. His father (Walken) should never have given him the checking account with $30 in it. Junior quickly found that actual money in the bank was not a necessity to having plenty of checks to cash. He passed himself off as an airline pilot, a doctor, and a lawyer in New Orleans social royalty until the FBI spoiled things.

He had superb gift of gab, was extraordinarily bright, became a magnificent forger, and obviously enjoyed the lifestyle that a teenager would if he could pass as a respected adult with unlimited funds. The film plays back and forth between his actions and the pursuit by FBI agent Carl Hanratty (Hanks), whose specialty is check fraud and has taken this case on as a crusade. He also has a begrudging respect and empathy for the young man.

The film is at its best showing the interactions between the totally dissimilar hunter and quarry and in showing the scams that Frank managed. The two men are apparently still good friends in real life.

As an aside, Frank eventually became an expert on security and earned his millions honestly. His only complaint is that he is no longer able to go into public without being recognized. My guess, however, is that the film hasn’t done his business any harm.Beginning

Catch-22 (1970) (****+, war, drama, black humor) (D.-Mike Nichols; Alan Arkin, Martin Balsam, Richard Benjamin, Art Garfunkel, Jack Gilford, Buck Henry, Bob Newhart, Anthony Perkins, Paula Prentiss, Martin Sheen, Jon Voight, Orson Welles, Bob Balaban, Marcel Dalio, Norman Fell, Charles Grodin, Austin Pendelton, Peter Bonerzm, Elizabeth Wilson) Arguably one of the best antiwar movies ever made. Savage. Satirical. It catches the atmosphere of the book perfectly. I would place it on my list of top twenty movies. Alan Arkin does a superb job as Yossarian. Bob Newhart as Major Major is priceless. If you have never read the book, it is a must, but don't expect an easy read. Beginning

Cat People (1942) (***1/2, horror) (D.-Jacques Tourneur, Simone Simon, Kent Smith, Tom Conway, Jack Holt, Jane Randolph) Dated but very stylish forties horror. Dark, brooding, atmospheric, and with very effective use of darkness and shadows. There are several excellent scenes where the suspense is almost overwhelming, although the violence is restrained. The night walk in the city comes to mind. Smith falls for odd, shy Simon. Her problem is that she fears that she carries a curse that will turn her into a murderous panther who will kill any man who makes love to her. Remade in a stylishly nasty color version Cat People in 1982. (2-1-94) Beginning

Cat People (1982) (***, horror) (D.- Paul Schrader; Nastassja Kinski, Malcolm McDowell, John Heard, Annette O'Toole, Ruby Dee, Ed Begley, Jr., Scott Paulin, John Larroquette) Stylish remake of the '42 horror classic. With Malcolm MacDowell and Natashi Kinski as siblings and cat people. Doesn't alway work, but at its best is eerily effective. Opening is set to a great Bowie piece; remember the line "putting out fire with gasoline". Beginning

Cat's Meow, The (2001) (***, drama, docudrama?) (11-5-01) (D.-Peter Bogdanovich; W.-Steven Peros; Kirsten Dunst, Cary Elwes, Edward Herrmann, Eddie Izzard, Joanna Lumley, Victor Slezak, James Laurenson) A re-creation of a mysterious death on a cruise in November of 1924 aboard powerful newspaper mogul William Randolph Hearst’s yacht. The guests include Hearst (Herrmann), the ill-fated powerful Hollywood producer Thomas Ince (Elwes), Hearst’s mistress the vivacious Marion Davies (Dunst), Charlie Chaplin (Izzard), the soon to be one of the most powerful and feared gossip columnst Louella Parsons (Tilly), Elinor Glyn (Lumley) and a host of notables.

An entertaining glimpse into the flapper world of the rich and famous. Hedonism, intrigue, jealousy and ultimately murder. The film approaches its subjects very subjectively and you never really warm up to any of the characters. The story is, however, intrinsically interesting, the characters’ motivations and actions intriguing, and the atmosphere marvelous. So if you go into it with the right frame of mind you will be in for an entertaining evening.

The screen writer Peros was at the Festival and discussed the film. As they say, timing is everything. At a film festival Roger Ebert commented to Bagdonovich that Orson Wells had thought about using the mysterious death of Ince in Citizen Kane, but didn’t feel Kane could have done what was required, so he dropped it. Ebert thought that it would make a marvelous movie. When Bogdanovich went back to his office, he found the script from Peros that had been circulating for years without success. The rest we say is history.

How true is the story? Hard to say. Hearst was extremely powerful and is alleged to have kept the secret well during his life. Indeed, the official word was that Ince wasn’t even on the yacht. Only afterwards were rumors circulated. Much of what you see is based on Elinor Glyn’s writing with some minor changes for plot development. Regardless of the truth, it does make for an intriguing story. Where did the title come from? The writer wanted something indicative of the time, and this piece of flapper era slang does a nice job. He did wonder, however, how this title would be translated into foreign languages? Given the problems of title translations, I cringe.

In contrast to the scathing indictment of Marion Davies as a no-talent actress, she was indeed quite accomplished in real life. Orson Welles even apologized for his portrayal saying that her role in Kane was not meant to be specific to her but a composite. This is especially true of comedy once Hearst allowed her to do it; Chaplin had recognized her talent and pushed for it much earlier but Hearst didn’t consider comedy serious art. Dunst’s portrayal is very effective and does convey a woman of real talent and energy. Being a keen follower of Chaplin, I did have a hard time with Izzard as Chaplin; he neither looks much like Chaplin nor speaks as I would expect. Be forewarned Cat’s Meow generates wide extremes in views. From poorly acted tripe to well acted sophistication. Beginning

Cell, The (2000) (***, crime, suspense, horror, sci fi) (8-28-00) (D:-Tarsem Singh; Jennifer Lopez, Vince Vaughn, Vincent D'Onofrio, Marianne Jean-Baptiste, Jake Weber, Dylan Baker, James Gammon, Patrick Bauchau, Tara Subkoff, Catherine Sutherland) Cell generates lots of heat, both pro and cons. I think the truth lies somewhere in between. Cell is like a cross between the brutal Seven and Hitchcock’s surrealistic Spellbound. Scientists have figured out a way to meld minds and allow one person to get into and interact with the mind of another. They are using this experimental method to try to reestablish physical contact with a comatose young man. Catherine Deane (Lopez), a therapist with great empathy, is their favorite transfer. A brutal serial killer, Carl Stargher (D’Onofio) has been cutting a swath through young women. When he is finally captured he is comatose and his last victim is somewhere, still alive, but programmed to die horribly. The only way to try to locate her in time is to invade his mind. This, coupled with the search for the girl by the FBI agent Ramsey (Weber), sets up the remainder of the film.

The film deals with what it would be like to enter someone else’s mind. Stargher belongs to the class of intelligent, highly organized serial killers. He also has very strong fetishes and loves to have total control, manipulate his victims, and revel in the results afterwards. A very recognizable subclass of serial killers. The cold, baroque, surrealistic landscape of his mind is a highly imaginative interpretation. It is not a place where any sane person, least of all the sensitive Catherine, should ever go.

Cell is a taut suspense film. The acting is good to the extent that one can judge these people who are not mainstream. Most of all it is a visual roller coaster ride. The imagery, the imagination that went into the visual tapestry of the film is stunning. Singh’s background is in MTV. It shows. But given the subject matter, it works. However, there will certainly be times when you are reminded of MTV and many high-end TV or magazine commercials.

Cell is not for everyone. It is violent. Disturbing. The bizarre mind of the killer is truly off putting and disturbing—as intended. It is imaginative, creative, and visually stunning. You were warned. Beginning

Cellular (2004) (***, thriller) (6-22-05) (D.-David R. Ellis; Kim Basinger, Chris Evans, William H. Macy, Jason Statham, Noah Emmerich) Jessica (Basinger) is kidnapped, blindfolded, taken to a remote site, and tossed into a bare attic with no way of identifying the location. Why have they kidnapped her, a simple school teacher? What do they plan to do with her? She jury rigs a phone, and manages a single contact with one of the world’s greatest slackers (Evans). Can she convince him this isn’t a crank call? Can they figure out where she is? Can she be rescued? After a tepid, clichéd opening, Cellular ratchets up the tension and manages a class act white-knuckle thriller down to the last frame.

Basinger is stellar as the damsel in distress. But this is no dainty cringing weeper. She may be frail, she may be scared out of her mind, but she is smart, resourceful, and adaptable. However, the kidnappers are not too short on brains either and they have the brawn, so Cellular is a real thriller with plenty of cliff hangers. You’ll get your adrenaline rush. The plot also flows with reasonable logic, and once the action starts you won’t really notice the errors until the post mortem. The other actors are good with Macy being believable as a retiring police office, Evans as the young man out of his league, and Statham as an ever reliable heavy you wouldn’t want to meet, even in mid day on a busy street.

The DVD has deleted scenes which are always interesting. If you like suspense films, do give Cellular a look.

Changing Lanes (2002) (***1/2, drama, suspense) (9-2-02) (D.- Roger Michell; Ben Affleck, Samuel L. Jackson, Toni Collette, Sydney Pollack, Amanda Peet, Kim Staunton, William Hurt) For a change the ads have it dead on: "One wrong turn deserves another." Gavin Banek (Affleck) and Doyle Gipson (Jackson), from very different backgrounds, are both rushing to important court appointments when a lane change forces a minor fender bender. Because of the flawed personalities involved, this minor incident will lead to a series of profound revelations and reversals of fortune for both men. In some ways changing lanes is like a two-edged film noir. In noir one individual makes a fateful error that causes their world to start to crumble, and every choice only forces them deeper into the quicksand. In Lanes, each man’s decision plays off the other, who responds in a way that either digs both deeper into the mire or comes too late to solve their problem. The title comes only peripherally from the auto accident and mainly from the directions these two men’s choices and destinies take. By the end of the day, both men will know much more than they wanted to know about themselves, those around them, and the depths to which they are capable of sinking.

Yes, I am being deliberately vague. Much of the viewing pleasure is the Hitchcockian way in which the plot unfolds, the suspense, the choices made, and the consequences. As the story races headlong towards its climax, it is not clear how it will end and the tension ratchets up inexorably.

The story line is a bit contrived, and it is difficult to imagine everything that happens actually being possible in one day. Nevertheless the ride is fascinating. Affleck and Jackson play their roles perfectly. Both characters are basically decent people who on the balance mean well, but circumstances, the pressures of the moment, and their own deep rooted flaws and desires cause them to react in the believable ways they do. As will be learned, not all addictions are chemical. The supporting cast is excellent, and the film is filled with beautiful little details about personal choices and decisions. Banek’s lunch with his wife Cynthia (Peet) is beautifully rendered as is Gipson’s visit to the bar.

The film does end with the Hollywood tendency to try to wrap up all the little details, but even here it succeeds in leaving several key points ambiguous and suitable for post viewing argument. Just remember "Better luck next time!" Beginning

Charlie Chan at the Opera (1936) (***, comedy, mystery, classic) (8-23-99) (D. H. Bruce Humberstone; Warner Oland, Boris Karloff, Keye Luke, Charlotte Henry, Thomas Beck, Margaret Irving, Gregory Gaye, Nedda Harrigan, Frank Conroy, William Demarest) Entertaining film in the Charlie Chan series. Chan is a Chinese detective who dispenses wisdom and barbs couched in Chinese proverbs. He is invariably accompanied by his Number One or Two sons, who do much of his dog work. While the characterization would be considered stereotypical today, he is always way ahead of his slower American colleagues. Here we have an escaped lunatic (Karloff), threats to a famous opera singer, philandering spouses, an opera house filled with secret passages, a magnificent opera (written by Oscar Levant just for the film), an inept police officer and a steadily mounting body count that forms the background for Chan's incisive intellect, deductive powers, and wit. As with others of the series, little is as it seems and you aren't expected to solve the crime from the available data. Beginning

A stunning point for the modern audience is the use of a FAX machine--note the year--for transmitting a photo from Chicago to Los Angeles. They even get the scientific explanation almost right. This is not science fiction of the time. This is fact. Beginning

Charlie Chaplin at Mutual Studios II (1916) (***1/2, humor) (D.-Charlie Chaplin, Charlie Chaplin) It's old. It's silent. It's black and white. And it's also nearly lethally funny. Chaplin's comedy genius is shown in slapstick shorts that help lay the foundation for much modern visual comedy including Bugs Bunny and the Road Runner. Four restored Chaplin shorts (67 minutes): One A.M., The Pawnshop, The Floorwalker, and The Rink. While Chaplin had the Tramp appearance, he was no bittersweet underdog in these 1916 gems. He was cocksure, feisty, mischievous, and, at times, down right obnoxious. Unlike some of his longer shorts or later full length movies where the humor was diluted with the banality of plot and with pathos, these shorts concentrate on what Chaplin did best, straight for the funny bone physical comedy. Superbly, breathtakingly choreographed throughout. It is not clear how some scenes were done. If The Rink were longer, the audience would have to be carried out. Every conceivable pratfall on roller skates is superbly engineered into an ode to mayhem on little wheels. And that doesn't include where he is a waiter. Pray that you never get one like Chaplin. Many shorts use the same actors and actresses and you will grow to enjoy their styles. For example, Eric Campbell had a physical bearing, eye brows, and beards that would make Mephistopheles quiver in fear. Again these shorts show what superb athletes Chaplin and his coworkers were. Hospitalization policies on any of them would be a bad investment. One A.M., a Chaplin solo, is one of my favorites. It reminds me of why it is a bad idea to come home drunk to a malevolent house lying in wait. It starts with a living room full of vicious stuffed animals, polished hardwood floors, and throw rugs that move as if on ball bearings. Then, on your way to bed you must pass the pendulum clock of death that would make the pendulum in "The Pit and Pendulum" look benign, and finally you cross lances with The Murphy Bed from Hell. Sweet dreams! Media Home Entertainment, Inc. tape with 1934 music sound track. Also available from Movies Unlimited ($20). (8-15-94) Beginning

Charley Varrick (1973) (****, crime, drama) (6-4-08) (D.-Don Siegel; W.-John Reese (novel), Dean Riesner; Walter Matthau, Joe Don Baker, Felicia Farr, Andrew Robinson, Sheree North, Norman Fell, John Vernon) A lean, mean taut well acted gem. Compared to our moral cop in Pelham One Two Three, Matthau is now on the opposite side of the law. But his intelligence and wit are still manifestly present. Charley Varrick (Matthau) and his wife were barnstormers and crop dusters, but this makes for a poor living. The solution? Bank robbing. Charley and his buddies rob a small New Mexico bank. Easy in, easy out with a few thousand. But it goes very badly. There is no remedy for fate. Worse, this small, no name bank yields three quarters of a million dollars. Charley quickly realizes they have inadvertently knocked off a Mafia laundering site. Since the money isn’t FIDC insured, the owners want it back, and they want to make an object lesson of the perpetrators. Plus they don’t take no for an answer. Thus, begins a three corner cat and mouse game with the police, the mob, and Charley’s group working the corners.

The plotting is complex, the dialogue sharp, the characters including Charlie short on morality. This is largely a plot-character driven film, but there is enough adrenaline and suspense for most tastes. The mob hunter is Molly (Baker), one of the most chilling enforcers seen in years. Articulate, intelligent, congenial and totally ruthess. He can beat a man to death with his bare hands and not break a sweat. A worthy opponent for Charlie who has always lived by his wits, but may finally have found his match.

Plays occasionally on Turner Classic Movies. DVD available at Sneak Reveiws in Charlottesville. Check your morality at the door, sit back, and enjoy. Beginning

Chicago (2002) (****, musical, crime, satire, comedy) (3-10-03) (D.- Rob Marshall; Renée Zellweger, Catherine Zeta-Jones, Richard Gere, Queen Latifah, John C. Reilly, Taye Diggs) Based on the 1975 Bob Fosse musical stage play. If you go into Chicago expecting, Singin’ in the Rain or My Fair Lady, you have just blown $7-8. The opening to the CD sound track for the original play sums it up. “Ladies and Gentlemen, you are about to see a story of murder, greed, corruption, adultery, and treachery. The things we hold near and dear to our hearts.” The story takes place in prohibition Chicago. Roxie Hart (Zellweger) blows away her treacherous lover and ends up in Cook County Jail awaiting trial along with a rag tag assortment of murderesses under the “loving” care of Matron 'Mama' Morton (Latifah). Throw in Roxie’s loving and not too swift husband, Amos (Reilly), an ultra-high-priced, oily lawyer Billy Flynn (Gere), and another murderer Velma Kelly (Zeta-Jones) vying for Flynn’s attention and you have the film. Oh yes. Velma and Roxie both vying for the spotlight of public attention and sympathy.

In keeping with truth in advertising, I make several disclaimers. First, I don’t as a general rule like musicals. Second, the sound track for the Chicago play is one of my favorite CDs. The film manages to work around the problem of musicals where people spontaneously spring into song as part of the plot. Chicago maintains its air of reality by having the musical numbers either a realistic part of the film or arising from the overheated imagination of Roxie. It works. Beautifully. To maintain this, there are a few critical cuts or shortening of the songs from the play, and perhaps the addition of a song or two that didn’t show up on the CD.

Chicago is as savagely a cynical satirical view of human nature, the press, and the cult of personality as you are ever likely to see. The play came out in 1975, the setting is Prohibition, and yet it is more timely today than ever before. I guess, for better or for worse, human nature doesn’t change very much.

The acting is uniformly excellent. The story line captivating—the CD didn’t give all the surprises away, and even if it did, it wouldn’t matter. The song and dance numbers are outrageously over the top, which adds to the sheer joy of the film. Zellweger is not a singer or dancer by training but does a fine job. Zeta-Jones is both and it shows. However, she did say she was incredibly sore until she got back into shape. Gere is a gem. His Billy Flynn redefines slimy, greedy, articulate rat. Amos is the only really sympathetic character in the film, and his Mr. Cellophane is one of the few songs I actually thought improved on the stage play.

Any one of several song/dance numbers alone is worth the price of admission. Flynn’s manipulation of the press at the press conference, his razzmatazz, the 6 merry murderous tango, and Mama’s “when you are good” fall into this category.

So if you want a scathingly funny, ribald look at human nature with stellar choreography and toe tapping songs that will run through you head long after fade to black, run do not walk to Chicago. As an aside, this is on our list of must have DVDs when it comes out. Beginning

Chicken Run (2000) (***1/2, animation—actually claymation) (11-6-00) (D.-Peter Lord, Nick Park; W.- Peter Lord (story), Nick Park; Phil Daniels, Lynn Ferguson, Mel Gibson, Tony Haygarth, Jane Horrocks, Miranda Richardson, Julia Sawalha, Timothy Spall, Imelda Staunton, Benjamin Whitrow, Jo Harvey, Lisa Kay, Laura Strachan) While not at the Festival, the topic is certainly appropriate. From the creator of Wallace and Gromit and master of claymation Nick Park comes a full length feature. Run will delight children of all ages. A 5 year old in the audience when we saw it was very impressed as were my son and I.

The story is simple and ludicrous enough. A bunch of hens are trying to escape from a WWII style concentration camp chicken farm. Park uses all the standard cinematic conventions (but all in truly awesome stop action clay) to tell a story that children and adults will enjoy. The story begins as the chicken hatch yet another escape plan only to have it stymied by Mr. Tweed (Haygarth ) and his mastiffs. Into this chaos lands crippled Rocky Rhodes the Rhode Island Red Rooster (Gibson) who is selected to teach them how to fly out of the compound. The characters, the situations, the action all draw heavily from classic prisoner-of-war films such as Stalag 17, The Great Escape, and Bridge on the River Kwai. You don’t have to be familiar with these to enjoy the humor, but if you are you are you will be treated to a number of delightful references. For example, the tennis ball and solitary confinement are right out of Escape.

The characterizations are superb, the story a delight, the comedy frequently hilarious. In particular, I loved the two rats Fetcher (Daniels) and Nick (Spall) who were rather like a comic Greek chorus commenting on the insanity going on around them.

I think the shorter format of some of his Wallace and Gromit films works better. The middle dragged a bit. However, Run is still absolutely charming and extremely funny. There are some dark overtones. The baddies are bad--at least from the chickens’ standpoint. Mrs. Tweed (Richardson) is as despicable a camp commander as you would ever want to find. Beginning

Children of Paradise (1945) (****, drama, romance) (10-29-01) (D.-Marcel Carné; Jean-Louis Barrault, Arletty, Pierre Brasseur, Albert Remy, Maria Casarés, Leon Larive, Marcel Herrand, Pierre Renoir) Written by Jacques Prevert. The film had a fine introduction by Prof. John Lyons of the UVA French Department. A magnficent French film. The Festival showed the best print available in the US, which was not perfect, but adequate at the worst and stunning at the best. Magnificent cinematography, fabulous sets, stellar acting, and a fascinating story. Set in 1840, the story has many levels as it follows the relationships of a mime Baptiste (Barrault), a dramatic actor Frederick (Brasseur), a thief and murderer, and a free spirited Garance (Arletty) who, to varying degrees, is the love interest of all three men. The title comes from the term used for the worst and cheapest seats in the theater, the nose bleed section that was referred to as Paradise because of its proximity to God. The primary character is Baptiste who is obsessed with Garance. As well as incisive studies in human nature, we see the conflict between high (stage acting) and low (mime) art, and the rich and the poor. I will give no more about plot so as not to spoil your first viewing. However, a first viewing is clearly just a warm up to multiple viewings where the artistry of the development and acting as well as the nuance of the story line can be appreciated.

As an aside even when this film was made there was still a simmering conflict between the views held on silent films and talkies. Many still felt that sound had corrupted the near perfect art of silent films.

The film is stunning in its epic street and theater scenes. The production values would be exceptional under the best of circumstances, but the film was started in 1943 under the boot of the Nazi occupation and its first showing was in Paris immediately after the liberation. The Nazis supported it since they wanted the world to see that French art was not dead under them. The filming had to be moved around because of air raids, many of the extras would film during the day and then go back to their night jobs as resistance fighters, a number of the actors were Jews hidden by the film crew. Food was so scarce that in some of the scenes with food, the crew devoured it before it could be filmed. Finally, the Nazis did not allow any film longer than 90 minutes, so the film was actually made as two 90-minute films. I suspect the break was the intermission, which is a very natural split in the story. Beginning

China Syndrome, The (1979) (***1/2, drama) (D.-James Bridges; Jane Fonda, Jack Lemmon, Michael Douglas, Scott Brady, James Hampton, Peter Donat, Wilford Brimley, James Karen) Forget the political statement about nuclear energy and the press as well as the scientific plausibility. Judged by the acting and onrushing story line, this is a superbly crafted thriller that grabs you by the throat and doesn't release its skeletal fingers until after the final crawl. News reporter Fonda and film crew, led by Douglas, are getting a fluff story at a nuclear plant when an "incident" occurs. Douglas, a counterculture type and first class photographer, surreptitiously films the operations room during the incident; the reactor people vehemently deny anything of import happened. What follows is conspiracy, cover up, moral self-evaluation, and the possible near end of Southern California with one of the most white-knuckle endings ever put on celluloid. The movie is old enough so that many of you may not have seen it, and I won't give any more away. Even if you do remember it, see it again and savor the style, story, and acting. Lemmon, who in my opinion is one of our greatest living actors, does a stellar job as the shift supervisor at the time of the incident. The rest of the cast is first rate. Douglas, who was the producer ended up as the cameraman after the newly successful Richard Dreyfus was priced out of their market. Douglas who wanted stark realism also insisted on the complete absence of music on the sound track.

"China Syndrome" refers to where a nuclear core tries to go after a meltdown and containment breach. Oh yes, on the subject of plausibility, I did forget one small detail. Within weeks of release of The China Syndrome, one of the reactors at Three Mile Island underwent a near terminal excursion brought on by operator error and equipment malfunction. Talk about a fabulous advertising gimmick. (3-7-95) Beginning

Chocolat (2000) (***, comedy) (2-12-01) (D.-Lasse Hallstrom; Juliette Binoche, Victoire Thivisol, Alfred Molina, Johnny Depp, Hugh O'Conor, Lena Olin, Peter Stormare, Judi Dench, Carrie-Anne Moss, John Wood, Aurelien Parent-Koening) Showing at the Downtown Regal. A gentle, charming little crowd pleaser. The opening voice over describes a small French village in 1959 that “believed in tranquility.” The true meaning is rigid adherence to an old social order that brooks no deviation or pleasure. “And if you forget, someone reminds you of it.” The town is about to discover other worlds as “a sly wind blows in from the north” carrying Vianne (Binoche) and her daughter Anouk (Thivisol). Vianne opens a chocolate shop, and chocolate is certainly considered to be one of the decadent pleasures. The town is run with an iron fist by the rigid Comte de Reynaud (Molina), who is the town’s current manager of morals and behavior. The battle lines are soon drawn as Vianne opens her shop, which is stocked with the most delectable of tempting morsels, at the beginning of Lent, no less. Vianne is descended from a South American temptress, claims to be able to read everyone’s innermost needs, and can supply a magical chocolate that will satisfy them; however, she is amazingly ignorant of her own needs and chooses to ignore her daughter’s. To say more would ruin your pleasure of discovery.

The town is populated with a range of delightfully quirky characters including the bitter grandmother Armande (Dench), the kleptomaniac Josephine (Olin), the long, long suffering aging suitor Wood, a boy (Parent-Koening) overprotected by his mother, and the bamboozled young new priest (O'Conor). Throw in a group of river people led by Roux (Depp), a charming handsome scalawag, to complete the cast.

Chocolat is not slap stick or rolling-in-the-aisle funny. You have a steady stream of smiles and chuckles. In short, a sweet comedy. By the way, don’t ask how she got all her supplies in the bags they carried.

The acting is excellent throughout. Dench and Binoche are stellar. Hallstrom is a humanist and, while having great fun with his characters’ foibles, always respects their basic humanity. The story is complemented by the beautiful cinematography, editing, and delightful sound track. This is definitely a big screen film.

The primary targets of the film are rigid, insular, narrow, and outdated views. Its final message of inclusion is overly optimistic, but this is a comedy. By the way, the food is so delectable that you may want to rush out and attack something chocolate afterwards.

If you enjoyed Chocolat and are interested in other films where food or other agricultural products have a magical effect on others, check out Saving Grace, Like Water for Chocolate, and Big Night. A very black alternative is Eating Raoul. Beginning

The Chronicles of Riddick (2004) (**, sci fi) (2-23-05) (DW-David Twohy; Vin Diesel, Colm Feore, Alexa Davalos, Karl Urban, Thandie Newton, Judi Dench, Nick Chinlund) This is a sequel to the Richard Riddick (Diesel) of Pitch Black. I liked Pitch Black. It was a suitably improbable sci fi horror film populated with interesting characters, twists, and visuals effects that really delivered the adrenaline as long as one didn’t look closely at the plot. Diesel is one of the few surviving Furions, a race of warriors that, among other things, can see in the dark. After being one of the very few left standing after Pitch Black, Riddick has a huge bounty on his head (why we will find out) and is hiding on an ice planet. He is about to be drawn into a battle between Necromongers and the rest of the Universe. The Necromongers have a simple creed, be converted into their quasi-living state and join forces with them or die. Led by Lord Marshal (Feore) they have a constantly replenished army and the military technology such that they are cutting a swath across the galaxy. Since the film starts on an ice planet, it is logical that it will end on a prison planet hell aptly named Crematorium.

I really enjoyed the visuals and art design of the film. Dark, brooding. The power of the Necromongers was conveyed in a very majestic Third Reich fashion. Diesel was suitably buffed, bulging, sneering. However, he lacks the self-effacing humor that makes Schwartzenegger charming in similar roles. I think he has talent, but he needs to expand beyond this role to express it. Unfortunately, even for a film of this type, the plot is a mess. The action sequences are too tightly intercut to be satisfying. The characters are improbable and some of the acting is just plain awful. In deference to the young actors, I won’t mention names. I liked the art design and if you are into that, this is the one reason I would recommend the film. Regrettably, the ending and title clearly promise a sequel.

Chuck Jones: Extremes and In-Betweens, a Life in Animation (2000) (documentary, ***1/2) (11-6-00) (D.- Margaret Selby; W.-Greg Ford, Margaret Selby; Whoopi Goldberg, Matt Groening, Ron Howard, Leonard Maltin, Chuck Jones, John Lasseter, Rob Minkoff, Steven Spielberg, Robin Williams) An early screening at the Virginia Film Festival 2000, this is an absolutely delightful collection of clips, interviews, and insights into one of the comic geniuses of the 20^th century, Chuck Jones, and the brilliant people around him. Jones was responsible for much of the Bugs Bunny cartoons, the Roadrunner, and Wiley Coyote, to name only a few. Our view on cartoons will be forever shaped by the brilliance of these creations. The film gives historical background on much of his film work including a lot that is not seen today, but is still magnificent. It also provides information on his many outstanding coworkers who help create these gems. The film has numerous clips putting his work into perspective and showing his far reaching influence.

Watching this film reminds me of why I include many of these of cartoons in regular end-of-the-semester film breaks, and makes me wish that I had even more of these cartoons to show. I challenge anyone with a funny bone in their body not to laugh hard and regularly through Extremes.

Those of you familiar with the Coyote’s relentless quest for the Roadrunner will appreciate the fact that Jones’ studios are guarded by Acme Security Cameras (a fact gleaned from other sources). The only down note of this otherwise delightful occasion is that Jones, who had planned to be there for the screening, suffered from health problems and had to pass. We wish him well. Beginning

Chuck Jones, Requiem. Dead at 89 on February 22, 2002. (2-25-02) The film world suffers the loss of a giant. Arguably Chuck Jones is responsible for more laughs than any other person. Master animator and director of some of the best animation cartoons ever made. Jones helped to create Bugs Bunny, Daffy Duck, Porky Pig and Elmer Fudd. He created the Road Runner, Wile E. Coyote, the French-accented skunk Pepe le Pew with romance on his mind, and Marvin Martian with conquest of the universe on his mind.

Jones had a unique gift for creating timeless characters and situations that appealed to all ages--in the same cartoon. I show some of his material at a cartoon break at the end of every semester, and the students, my granddaughter, and I love them. The humor ranges from slapstick to droll gems. He made fun of human nature good naturedly and without rancor, and how many of us cannot relate to that smug sense of satisfaction when we execute a brilliant foolproof plan only to have it come crashing down around us like the rocks on Wile Coyote as once again he misses the Road Runner? Beep. Beep. Or that sense of satisfaction when we actually pull off a masterful coup against a powerful opponent, as does Bugs against any number of fearsome foes?

Jones was given an honorary Oscar in 1995 for a lifetime achievement. His film “What’s Opera, Doc?” was inducted into the National Film Registry in 1992 for “being among the most culturally, historically, and aesthetically significant films of our time.” No small feat for “just” an animator.

We narrowly missed Jones two years ago at the Virginia Film Festival. He was eager to come, but had to cancel at the last minute for health reasons. A great loss to all his admirers.

What can you say about an icon like Jones? My best shot is to include a couple of past reviews of films about or by him and some extra information. Beginning

Bugs Bunny/Road Runner Movie, The (1979) (****, comedy, animation) (2-25-02) (9-28-99)

Road Runner/Coyote

Chuck Jones: Extremes and In-Betweens, a Life in Animation (2000) (documentary, ***1/2) (11-6-00)

Cider House Rules, The (1999) (****, drama) (2-28-00) (D.- Lasse Hallstrom; W.- John Irving; Tobey Maguire, Charlize Theron, Delroy Lindo, Erykah Badu, Paul Rudd, Michael Caine) Based on John Irving’s book. A well acted, beautifully filmed, coming of age film that, along the way, explores the complexities of human relations, choice and fate. The time is the Second World War in a backwater Maine orphanage. Homer Wells (Maguire) has grown up there and knows nothing of the outside world. It’s a hard time made even harder by the war. Homer has been taken under the wing of the head of the institution, Dr. Wilbur Larch (Caine). Larch has taught Homer everything he knows including how to deliver babies or illegal abortions as the need arises. This last point truly disturbs the youthful Homer with his idealistic views. While Larch loves his charges, he has serious human frailties that probably explains why he is at the orphanage. This precarious arrangement is toppled when Wally (Rudd), a daring young air corps lieutenant, and his girl friend Candy (Theron) arrive to utilize Larch’s skills at abortion. The lure of the outside world calls to Homer, and let us just say that the real world is fascinating. However, his sheltered existence has not truly prepared him for the complexity and messiness of human relationships. It is an experience that will shape him forever. Ultimately, Cider House is about finding out what rules make your own life work.

The film covers a lot of ground. It hits on abortion in the 40s, love, fate, and responsibility. The dialogue, the scripting, and the plot are intelligently developed. The film could be a downer, but beautifully balances the light with the heavy. Characters are multidimensional and complex as are the issues, which are generally treated in a balanced fashion. Most people are mixtures of good and bad, as well as strong and weak, even when elements aren’t obvious. And not always at the same time.

The acting is uniformly excellent with Caine giving a knockout performance. The one potentially off note is Maguire who is spacey. However, I have known people who came from much more normal backgrounds than Wells and were far stranger, so this didn’t bother me. His reactions to the real world are beautifully believable.

The abortion element has strongly polarized reviewers and viewers. However, the films is much, much more that just this one issue.

"Good night, you princes of Maine. You kings of New England!" Beginning

Cinematography: I would like to review three completely different films that have one thing in common: the camera work is an obvious and integral part of the story. While cinematography is essential and absolutely critical to any good film, it generally is designed to seamlessly blend with the story and not call attention to itself. In short, typical cinematography should craftily sneak its message around our monitors and just be an unconscious part of the story. However, in some films, the cinematography runs over us like a tank screaming the whole time "Here I am! Look at me! Admire me!" When well done, such cinematographic excesses add texture and support the entire story, albeit such successes tend to be uncommon. There are films where the story and the obvious film presentation are inseparable; good examples are from cinematographers Greg Toland (in The Long Voyage Home) and Barry Sonnenfeld (in Blood Simple and Raising Arizona). See the separate reviews of The Long Voyage Home, Raising Arizona, and Blood Simple in the alphabetic listing. (8-8-95) Beginning

Citizen Cohn (1992) (***1/2, docudrama) (D.-Frank Pierson; James Woods, Joe Don Baker, Joseph Bologna, Ed Flanders, Frederic Forrest, Lee Grant, Pat Hingle, John McMartin, Josef Sommer, Tovah Feldshuh, Frances Foster, Allen Garfield) Once again proof that "made for TV" is no longer an artistic death sentence. First rate David Franzoni screenplay based on Nicholas von Hoffman biography. A savage indictment and cautionary tale of the life of Roy Cohn and the McCarthy era red hunts of the fifties as seen in hallucinating flashbacks as Cohn lies dying of AIDS in 1986.

Cohn was an utterly unscrupulous, and ultimately unrepentant, lawyer who manipulated himself into position as McCarthy's right-hand man. Cohn was responsible for orchestrating the destruction of so many innocent lives during the red witch hunts. The film makes certain artistic concessions, but at least on the McCarthy portion is very true to the facts. McCarthy, guided and prompted by Cohn, generally did his own hatchet work in the committee and during speeches and press conferences. However, McCarthy was certainly capable of much of what he did without Cohn’s assistance.

The downfall of McCarthy was to a considerable degree caused by the first public televised hearings. Up to this point, most of the coverage had been by the highly supportive and biased Hearst newspaper empire--the title may be derived from Citizen Kane, which was a thinly veiled account of Hearst. Once the people got a good look at the savage and unconscionable way McCarthy was attacking his victims, many were totally repulsed by him. The critical Army versus McCarthy hearing was the final straw. Cohn had brokered a deal where the McCarthyites would not touch a young lawyer. McCarthy became so enraged during the questioning by government lawyer Joseph Welch (Flanders) that he broke the deal, which allowed Welch to savage McCarthy and Cohn. The scene portrayed in the film is an accurate replay of the filmed proceedings. Cohn can be seen shaking his head "NO. NO." to McCarthy as Cohn realizes what is about to happen. The "pixie" exchange is also directly from the proceedings.

[Note added on 11/24/05. This pivotal breaking of the agreement by McCarthy and Welch’s scathing rebuttal is available in audio at

http://www.americanrhetoric.com/mp3clips/politicalspeeches/mccarthywelch.mp3

However, the recording ends before the enormous and unruly ovation from the audience, and McCarthy asking what just happened. What just happened is that he has just finished his self-destruction on national TV.

The cast is first rate. Baker is completely believable as the drunken, power hungry McCarthy. I can think of only a handful of actors capable of handling the mercurial, suave, explosively unpredictable and totally ruthless Cohn. Woods was at the top of the list and does not disappoint. The pivotal lawyer, Welch, actually went on to a film career and played the judge in Anatomy of a Murder.

For those unfamiliar with the McCarthy era, Cohn makes an outstanding introduction. However, I would also add The Front to get a better feel for the destruction of individuals and how the system thrived on rumors, finger pointing, and grandiose lying. (5-5-97) (11-28-05)

Citizen Kane (1941) (****+, drama) (D.- Orson Welles; Orson Welles, Joseph Cotten, Everett Sloane, Agnes Moorehead, Dorothy Comingore, Ray Collins, George Coulouris, Ruth Warrick, William Alland, Paul Stewart, Erskine Sanford) Considered one of the greatest films of all times, and Welles was only 25! Almost 60 years after its release, Kane is still awesome. Superb cinematography, editing, FXs, acting, and a great story. The rise and fall of the publishing magnate Charles Foster Kane (Welles), a man whose enormous ego and arrogance doomed him to an old age of loneliness and regret in his unfinished pleasure palace, Xanadu, surrounded by a tasteless hodgepodge of world marvels that he is incapable of appreciating.

The film begins with Kane's famous dying word "Rosebud". Then, in a stroke of story telling genius, a newsreel provides us with all of the exterior trappings of his life necessary to set up the remainder of the film. A news reporter seeks the origins of that enigmatic word by interviewing the people (living and dead) who knew him. Actually, this is an error since no one was present as he died, so no one could have hear the word. But who is arguing?

I first saw Kane when I was younger--probably on a small TV hacked to bits by ads. This review is based on a laser disk, which is still clearly an inferior substitute for the the superb original 35 mm format and the big screen. I judge the degradation by comparing the video and recent theatrical rerelease of Casablanca--they aren't the same film. As a teenager, I wasn't overly impressed with Kane--both because of the viewing format, and because I failed to perceive the nuances of the story. Then I lacked the life experiences necessary to appreciate Kane.

The visual imagery and its relationship to story development is stellar. Greg Toland, the cinematographer, was given unheard of equal billing with Welles in the final credit. It is deserved. The two worked closely together to develop much of the visual storytelling techniques. Welles chose Toland because of his enormous skill and innovative styles, which are well showcased in his earlier The Long Voyage Home. In particular, the use of deep focus (where everything from the closest object to the furthest are in perfect focus) was highly refined by Toland as was the ability to include ceilings in the frame. This last point, which we now take for granted, was almost unique since early sets were ceilingless for the microphones and lighting equipment. The trick used was a false cloth ceiling that looked real but let sound through. Through many incredibly clever FX and editing, the film was actually modestly budgeted. However, it DOESN'T look modest. Not at all.

Recommendation: Get the biggest non-projection TV you can find and rent a laser disk. Sneak Reviews on Ivy has both the disk and players if you need one. Then, turn out the lights and prepare for one of the great cinema viewing experiences. (3-10-97) Beginning

Citizen X (1995) (***, docudrama) (D.-Chris Gerolm; Stephen Rhea, Donald Sutherland, DeMunn Jeffrey, Max Von Sydow) Made for HBO Cable, which once again demonstrates that "made for cable" is no longer the death knell. Based on the book The Killer Department by Robert Cullen. Matter of fact, disturbing account of the pursuit and capture of one of the world's worst serial killers (Andre Chikatilio)in Russia. Rhea is the forensic pathologist (Viktor Burakov) turned detective who, with his commanding officer (Sutherland), spent about 10 years searching for the killer as he left a trail of 52 bodies, 37 of them children. The search was impeded both by the killer being an efficient "organized" type, and by the Soviet bureaucracy. For example, a party hack ruled that the Soviet Union had no serial killers because that was a decadent capitalist problem; therefore, the bureaucracy refused to acknowledge the existence of a single killer for years, and then refused to warn the public because of the bad publicity.

Rhea is excellent as the Sad Sack Burakov (he actually can smile) who is as driven and methodically efficient in his own low-key way as the killer. Jeffrey is chilling as the brooding diminutive introvert who can only release his pent-up rage in blood. I found the interplay between Sutherland and Rhea contrived, but stranger things have happened. Von Sydow as a psychologist plays a small, but pivotal, role in extracting the confession; his approach of lifting the veil of secrecy and revealing publicly the killer's innermost feelings is apparently an effective ploy for this type of killer. The movie succeeds in creating a continual air of tension instead of being boring and depressing, which it could have become due to the length of the search and the lack of any noteworthy successes during most of it. I kept telling myself throughout that in a more open society the existence of the killer would have been known by the public earlier, even if they couldn't catch him. I think--although there are a lot of reasons any officials would not want to acknowledge something like this. (3-7-95) Beginning

City of Ghosts (2002) (*1/2, action, noir, crime) (4-19-05) (DW.-Matt Dillon; W.-Barry Gifford; Matt Dillon, James Caan, Natascha McElhone, Gérard Depardieu, Kem Sereyvuth, Stellan Skarsgård) Dillon’s writing/director debut. Again, judging from The Internet Movie Database, I am in a minority. I made the mistake of picking this one up on the basis of an intriguing dustcover description and the cast. An action noir set from NY to Cambodia. Jimmy (Dillon) is being sought by the police about a scam and flees to Cambodia to find out exactly what happened. Here he interacts with master con artist Marvin (Caan). Double and triple crosses. Mine fields. Chases. Explosions. Complex to the level of pointlessness. You do wonder where it might be going, which is why I hung in to the end. Big mistake. It isn’t going anywhere. The best thing is the travelogue shots of Cambodia, although not everything is likely to be good for promoting the tourist trade. City of Ghosts did however remind me of a zero budget similarly-themed film Jakarta that runs circles around Ghost.

City Slicker (1991) (***, humor, adventure) (D.-Ron Underwood; Billy Crystal, Daniel Stern, Bruno Kirby, Patricia Wettig, Helen Slater, Jack Palance, Noble Willingham, Tracey Walter)Not a great movie, but very enjoyable. Crystal is a delight. So is Jack Palance as the tough-as-nails trail boss--for the younger generation, Palance played a generation of Western and other villains. He has always looked the part, and hasn't grown any less menacing in his old age. Beginning

City Slickers II: The Legend of Curly's Gold (1994) (*1/2, comedy) (D.- Paul Weiland; Billy Crystal, Daniel Stern, Jon Lovitz, Jack Palance, Patricia Wettig,) Justifiably savaged by the critics and, as I recall, by the audiences. A depressing example of why I tend to avoid sequels that try to capitalize on a good movie. Crystal and colleagues try to repeat their success from City Slickers. Jack Palance even gets in again as Curly's twin brother; I guess a ressurection was considered too tacky, although they even made a try at that. They start with a weak premise and throw out most of the charm of the original. The few good gags arise largely in the first few minutes and these involve the interactions between Crystal and his wife. Then the director and Crystal largely confuse motion with action. To compound the misery, it isn't even mercifuly short, but weighs in at almost 2 hours! If I saw the dance from The Treasure of Sierra Madre once more, I was afraid I'd expire. The only reason I stuck around to the end (live on cable so I couldn't forward) was to see what absolutely awesome Southwest terrain was used for the backdrop. The answer was around Arches National Momument and Moab Utah--the same place used for Thelma and Louise. (6-19-95) Beginning

Civil Action, A (1999) (***1/2, docudrama) (11-15-99) (D/W: Steven Zaillian; John Travolta, Robert Duvall, Tony Shalhoub, William H. Macy, Zeljko Ivanek, Kathleen Quinlan, John Lithgow, Dan Hedaya, Sydney Pollack) Based on the book by Jonathan Harr on the civil action against W. R. Grace and Beatrice Foods for the high incidence of childhood leukemia in Woburn, MA. I begin by saying that I am not familiar enough with the facts to comment on the accuracy of the film. This much is true: The town site was badly polluted. Schlichtmann's firm took on the case against these giants and ended up losing everything and having to declare bankruptcy. Philosophically the pivotal line is delivered by Jerome Facher (Duvall), the Beatrice attorney, to Schlichtmann (Travolta). "You want justice? I thought this was a court of law." All too often, the spoils go to the most powerful, the most talented, the most ruthless. Merit frequently runs a poor second. As a film, the story is harrowing, the story telling first rate, the acting excellent.

We get philosophy from both sides. Schlichtmann describes in coldly clinical terms how much a human life is worth and, therefore, what cases are worth pursuing. Facher lectures to his law class, and we see in graphic detail the devastating impact of violating these rules.

Schlichtmann, a talented bottom feeding lawyer, takes the case when he realizes that the polluters are owned by very deep pockets, even though he has earlier acknowledged that in a monetary sense a dead child is worth the least of all. As portrayed, he makes the worst error a lawyer can make, he becomes emotionally attached to the case, which leads to a series of increasingly bad decisions. Ultimately, if admission of guilt on the part of the companies was what the parents wanted, he failed. If a lot of money is what was wanted, he failed. And he destroyed his firm in the process.

Duvall's Facher is devastating. Duvall manages to portray Facher as an idiosyncratic lawyer who will patch his bedraggled brief case in court with tape, a down home guy who loves his baseball over anything else, a brilliant intellect. And all the while, he exudes menacing warning signs. Like with a rattlesnake, anyone who ignores these does so at the greatest peril. Schlichtmann apparently is deafened by his righteous anger.

Is there good and evil here? Perhaps. Were even the "good" driven by base and self serving emotions? Was the pollution responsible for the disease? Maybe. As Facher points out, there are clusters of diseases like leukemia, and there is not always a reason other than the vagaries of statistics or other yet unknown causes. Even if true, was this the price to pay for jobs? Clearly, many in the town felt so. Certainly, there was more than enough emotional pain to go around. However, ultimately Civil Action was about gamesmanship and the consequences of playing poorly. Beginningy

Claim, The (2001) (***, drama) (9-3-01)(D.- Michael Winterbottom; Peter Mullan, Wes Bentley, Sarah Polley, Milla Jovovich, Nastassja Kinski) Based on The Mayor of Casterbridge by Thomas Hardy. The setting: the mining town of Kingdom Come in the high Nevada Sierras in the winter of 1897. The only kingdom these residents are going to see will be after death. Stark. Desolate. Brutal. Unforgiving. The inhabitants are either running from or to something. Gold is the draw for many and, like a Venus fly trap, catches, consumes and spits out the desiccated carcasses of its victims. Daniel Dillon (Mullan) is the iron willed lord, law, judge, jury, and where necessary executioner of this kingdom. Under the circumstances he is a very benign lord. He is also a very haunted man. Haunted for something he did many years ago. This uneasy situation could have persisted indefinitely except for an illness and a railroad survey. The railroad is surveying to find out whether they should run the train through the town. The survey party led by Dalglish (Bentley) could be the salvation or ruin of the town depending on his evaluation; his is not a risk free job. Arriving at the same time is a sick mother, Elena (Kinski), and her nubile daughter, Hope (Polley), with their own agenda.

Claim is about choices made. Choices regretted. And attempts at redemption. The people are hard and ruthless, but not evil. Very Darwinian under the circumstances. Dalglish seems a complete gentleman, but he is young, virile, and in this setting his less than PC acts (as judged now life style in the whore house) is totally reasonable. The casual treatment of the deaths by the railroad is just the cost of doing business. Dillon’s mistress Lucia (Jovovich) is very realistic in her willingness to fight for what she loves and believes is hers even though she doesn’t understand the true nature of the threat.

Comparison with Altman’s McCabe and Mrs. Miller is inevitable, and the setting, the time, the nature of the individuals, the on-rushing tragedy all have counterparts. The setting in particular is an integral part of the story. The cinematography is similar as is the style of story telling. You are not spoon feed, but watch what is going on much like a fly on the wall. You catch bits and pieces of dialog from overlapping conversations and actions as you build your interpretation. This is not a great film like McCabe, but it insults neither your intelligence nor your senses as the story evolves.

Claim was shot in Fortress Mountain Ski Resort in Canada. For the narrow gauge train sequences, the Durango-Silverton Colorado narrow gauge was used. This is recognizable by the awesome backdrops and precipitous drops into the Animus River Gorge. For more on Durango Silverton, see my web page at

http://www.people.Virginia.EDU/~jnd/newmex.htm#DurangoSilverton all one line

Available at Beyond Video on DVD. Beginning

Clash of the Titans (1981) (***, fantasy) (D.-Desmond Davis; Laurence Olivier, Harry Hamlin, Judi Bowker, Burgess Meredith, Sian Phillips, Maggie Smith, Claire Bloom, Ursula Andress, Tim Pigott-Smith) O.K. put this one down as a guilty pleasure. It was generally savaged by the reviewers, but I liked it and it makes good family fun. The mythology is fractured (I think one of my Greek relatives had near heart failure when she saw it with us) and the plot is juvenile. Although, I guess on second thought, it is in its own way no more ridiculous than the grand stories of Homer. It involves evil, true love, love lost, love regained, monsters and mythical creatures (including the winged horse Pegasus), scheming, trickery, and great bravery. It involves gods who are as vain and fickle as the mortals on whom they rain their capricious decisions. The gods include Olivier as mighty Zeus and Andress, not surprisingly, as Venus. However, some of the greatest pleasures are the marvelous creations of the special effects expert Ray Harryhausen. Harryhausen is one of the great masters of classical methods of compositing stop action miniatures with moving breathing humans. Many of the magical creatures of Clash still look good when compared to today's computer generated effects. So if you want a classic off the wall epic some weekend, give Clash a look. (8-31-98) Beginning

Clear and Present Danger (1994) (***1/2, adventure) (??, Harrison Ford, Ann Archer, Henry Czerny, Harris Yulin, Donald Moffat, and Willem Defoe) Film version of Clancy book with enough changes to thoroughly outrage Clancy and to keep readers of the book guessing as to what is going to happen. After the death of a friend at the hands of drug dealers, the President (Moffat) launches a covert military operation in Colombia against the drug cartel. The President initiates the action with a wave of the hand and an "it would be nice if the archbishop were dead" style comment stated with all the proper emphasis so that there is no doubt as to what is expected--but in such a way that he can deny ever having given orders. The operation is carried out through maleable second in command (Yulin) with the help of slimy CIA deputy director (Czerny). Defoe is the field control. Dr. Ryan (Ford) of previous Clancy novels, of course, gets caught up unknowingly in this shifting moral, political, and military quicksand. As with any revenge, reciprocal escalation is the order of the day, and both sides will be bloodied and reeling. Filled with enough back stabbing and political infighting on both sides that no one, especially Ryan, can tell the good from the bad. The film director has a superb sense of timing and juxtaposition that milks every drop of tension from many scenes. The plot is crisp, the action extremely effective (especially the set ups), and the acting excellent. Many action movies fail to lovingly ratchet up the tension before the climactic explosions. Danger knows how to ratchet! Further, both sides are presented with enough humanity so that the enormity of what is happening can sink in. You may not agree with the politics, but as an intelligent well crafted action thriller, Danger delivers. (9-27-94) Beginning

Client, The (1994) (***, drama) (D.-Joel Schumacher, Susan Sarandon, Brad Renfro, Tommy Lee Jones) At the Jefferson. First class film version of Grisham's novel (which I have not read, but my wife, a Grisham fan, informs me is excellent). Young boy (Renfro) encounters Mafia lawyer in process of commiting suicide. The lawyer talks, the boy learns where the body is buried, survives, and then the law and the mafia both develop a keen interest in his subsequent welfare. The boy is from a lower class family, is independent, street smart, and wants nothing to do with the law. However, after getting a taste of what is in store for him, ends up seeking out a lawyer to represent him. He ends up with Sarandon, who has her own demons to deal with. Their skirmishing, courtship and growing respect for each other is the thrust of the film, but they do manage a few crisp action-suspense scenes for the adrenaline seekers. Renfro, whose background is not that far from the part he plays is outstanding. He manages just the right balance between vulnerabilty, paranoia (justified), and street smart aggression. Sarandon, as his foil and voice of reason, is also perfect. Jones once again plays the driven, overbearing lawman. He is a high ranking law official who is hell bent on destroying the New Orlean's mafia and no punk kid (or an absence of donuts) is going to stand in his way. He is also a minister who, as one agent says, "Know the Bible better than God himself". In short the guy you love to hate while you respect his goals. The plot is at times a bit far fetched (Jones is too good not to deal earlier for what he so dearly wants), but the outstanding acting and chemistry between Renfro and Sarandon will totally gloss over these imperfections. (11-16-94) Beginning

Cliffhanger (1993) (***, adventure) (D.-Renny Harlin, Sylvester Stallone, John Lithgow, Michael Hooker, Janine Turner) A must see on the Big Screen. Except for acrophobics! While Cliffhanger has weaknesses, the strengths of this electrifying action film overcome them. You have truly awesome mountains (the Alps posing as the Rockies), fantastic climbing, exceptional special effects and stunts, and one nailbiting cliffhanger--literally--after another. John Lithgow as Eric Qualen, a psychotic power hungry monster, implements a plan to make off with cool $100 M in large denomination bills with a mid-air high jacking of such cunning and spectacular execution that Goldfinger himself would have applauded it. You haven't ever seen Goldfinger? No! Then, zip right out, rent it, and sit back and enjoy one of the very best James Bond movies. Too bad for Lithgow something goes wrong and the money and his team end up being scattered over the Rockies. The rest of the movie is spent with them trying to track the three money cases with the unwilling assistance of a mountain rescue team, which includes Sly. As required for a good action movie, the villains have to be bad. These villains are BAD. They enjoy shooting people for breakfast. On the other hand our well oiled hero, his resourceful estranged climbing buddy (Hooker), and his girlfriend (Turner, a pilot from Northern Exposure) are, when cornered, worse. In reality, Sly hated heights, but that is him hanging out there in many of the climbing shots. He stated that he had a wire thin safety line--"It would allow them to retrieve the body." The director had the entire cast on the mountain. He felt that this added a real sense of tension, immediacy, and fear to their lines when they could imagine themselves slipping over the nearest 4000 foot precipice. Lithgow has a ball and really hams it up; you'll long remember his pragmatic monologue on love. Sly, mercifully, says no more than a few hundred words. A negative is the excessive violence and gore. For a comic book action movie, it is frequently too bleak in many places, which disrupts the flow of what would otherwise be an even better slam bang action movie. Harlan states that the professional climbers were in complete control of the action, wouldn't allow anything dangerous (I'm glad to know that everything I see is safe!), and had a number of suggestions that further spiced up the action. It is amusing that Sly can "climb" several thousand vertical feet faster than a helicopter. I'm quite impressed that my son tried a low climbing wall after seeing it. As an aside, Sly's stunt double was a climber who Sly was in absolute awe of. He could do one finger pull ups and hang by one hand for hours. He was tragically killed in a one-car accident driving back from the filming. (7-26-93) Beginning

Clint Eastwood Award received the American Film Institute's prestigious Life Achievement Award on February 29. Eastwood's first role was a lab technician in Revenge of the Creature in 1955. He also did several other bit parts that year including a fighter pilot in Tarantula where, behind an oxygen mask, he is only recognizable by his voice. From such lowly beginnings came a cultural icon. After various embarrassing roles in film, he switched to TV where he charmed every woman in America as Rowdy in the series Rawhide. With Sergio Leone he defined the Spaghetti Western genre with his minimalist deadpan style as the Man With No Name. His Dirty Harry's "Make my day" and "Are you feeling lucky?" are integral parts of the language. His first directoral work was Play Misty for Me (see below), and his relentlessly bleak revisionist Western Unforgiven earned him Oscars for Best Picture and Best Director. (3-11-96) Beginning

Clueless (1995) (***1/2, humor) (D.-Amy Heckerling; Alicia Silverstone, Stacey Dash, Brittany Murphy, Paul Rudd, Dan Hedaya, Wallace Shawn, Twink Caplan) While the subject matter appears to be pure teenage, Clueless transcends generations and will be enjoyed by young and old--although not always for the same reasons. Positively charming and delightfully funny adaptation of Jane Austen's Emma set to a rich teenager in modern Beverly Hills. Cleo (Silverstone) is a beautiful, charming ditz whose biggest loves in life are shopping, making herself beautiful, and managing the love lives of those around her--no matter how inappropriate the match made or appropriate the match broken. A heavy thought is whether her outfit is color coordinated. Silverstone is perfect. Her body English, her expressions, and her delivery faultless. She provides a running commentary for the audience as you get to watch what happens. Needless to say, her perceptions don't alway agree with ours. The teenagers have a delightful slang, and the dialogue is sharp. The cast is first rate, and you get to relish numerous recognizable types and behaviors. Heckerling's script follows Austen's basic story line faithfully and maintains Austen style of making great fun of our foibles without spite. In short she laughs with us, not at us. As in all Austens, everyone ends properly matched, happy, and morally and intellectually richer. (6-30-97) Beginning

Clockwork Orange, A (1971) (****, Sci Fi, drama) (3-22-99) (D.-Stanley Kubrick; Malcolm McDowell, Patrick Magee, Adrienne Corri, Aubrey Morris, James Marcus, Steven Berkoff, David Prowse) Clockwork Orange is a masterpiece of a physically attractive, but emotionally bleak and violent future. An absolutely breathtaking performance by Malcolm McDowell as Alex the completely charming, totally manipulative, and pure psychopath who will use any necessary combination of violence and guile to get anything and everything that he wants. Alex's first person telling of the story is completely self serving and conveniently justifies and glorifies his actions. Typical Kubrick touches include black humor and stunning integration of classical music and visual images. The juxtaposition, orchestration, of violence to beautiful music is extremely unbalancing. This movie has been attacked as glorifying violence. I disagree. When you are done, you are appalled at how easily Alex manipulated you and convincingly presented his world view. The effect is actually very anti-violence with excellent insights into a diseased mind. As an aside, the movie was rated X when it first came out. Kubrick cut about 30 seconds to get a coveted R. When it appeared on cable TV about 10 years later, it still had the R rating, but as best as I can determine the 30 seconds were restored. The social mores had changed that much.

Warning: This movie is very violent and very disturbing. The violence is less bloody, but much more realistic and, therefore, more unsettling than that of the typical dead teenager flick. (rereviewed 10-22-97) Beginning

Closet Land (1991) (**1/2, drama) (D.-Radha Bharadwaj, Madeleine Stowe, Alan Rickman) This two person stage play on film was supported by Amnesty International. Rickman, a government interrogator, psychologically and physically tortures a children's storybook writer to force her to confess that her latest book is a subversive anti-government statement. The acting is excellent, and the staging surrealistically unsettling. Unfortunately, the political message is muddied or lost in monologues interjected apparently at random and there is a plot twist at the end, which allows an interpretation not requiring an evil government. Rickman again demonstrates his mercurial talent for Mephistopholian evil. Even though there is little overt violence, this brutal, emotionally draining movie is truly not for the squeamish. (1-17-93) Beginning

Cocoanuts, The (1929) (**1/2, comedy, musical) (D.- Joseph Santley, Robert Florey; Groucho Marx, Harpo Marx, Chico Marx, Zeppo Marx, Kay Francis, Oscar Shaw, Mary Eaton, Margaret Dumont) I really shouldn't list musical in the type. I generally loath musicals and Cocoanuts is no exception, so I made such aggressive use of the fast forward that I never really noticed the singing/dance numbers. As any good Marx brothers' movie, who cares what the plot is? Their first film and it lacks much of the more refined (if one can use this term with their anachronistic style) of the later films. They had not yet developed their later superb use of that masterful straight woman Dumont. Groucho owns a flagging Florida hotel. Chico and Harpo are con artists who arrive as distinguished guests. Only their suitcase accidentally falls open and Groucho notices and comments that it is empty. Chico's response is "That's alright, we'll fill it up before we leave." In spite of weaknesses, some great set-piece sequences including the auction, the revolving bedroom farce, the classic "viaduct" routine, and the three-cornered pickpocketing by Harpo. (2-5-96) Beginning

Collateral (2004) (***, action, thriller) (9-9-04) (D.- Michael Mann; Tom Cruise, Jamie Foxx, Javier Bardem, Jada Pinkett Smith, Emilio Rivera, Barry Shabaka Henley, Irma P. Hall) This has gotten such wide spread advertising; it is probably fruitless to even think that one could hide the basic plot. So I won’t. Vincent (Cruise) is making a one night business trip to LA. He picks up a cab driven by Max (Foxx) for the night’s work. His computer is filled with little facts, and Vincent has five people to kill before he departs the next morning. Once Max discovers what is going on, it is not clear whether he will become the sixth, but certainly by cooperating he can extend his life through the night. The bulk of the film is built around the interactions of the two men with the looming end in the background.

Vincent is a sociopath. Intelligent. Articulate. Masterfully manipulative. While he is devoid of normal human feelings, he knows exactly how to use these in others to control them. He has found the ideal job. Max sums it up. "You lack standard parts that are supposed to be there in most people." Max is efficient, articulate, laid back, with big dreams, and never quite enough brass to act on them. Some of this we have gleaned from Max’s interactions with an earlier fare (Smith) and some information is skillfully extracted by Vince, who is constantly honing his skills. The chemistry between the two is excellent. Max is at first terrified, then resolved to try to escape by out thinking or out lucking his opponent. Vince has pretty much seen it all, needs Max to get things done, and is willing to work with a less than totally cooperative subject. A subject Vince is not above tutoring in the ways of life as the night wears on. If Max survives, one can safely say that his life will not be more of the same old same old.

The dialogue is interspersed with taut, beautifully choreographed action or near action sequences. Some directors think that a film requires continuous action, but many times, a scene that builds towards a shattering climax and then withdraws at the last moment can be even more effective than non-stop action. Mann is a master at putting both kinds together. In my opinion where he fails is in the overall story. Ultimately, too many coincidences, but the ride getting there is entertaining.

As opposed to many films that tack on one or more extraneous scenes to tie up the loose ends in case the viewers are too dull witted to think through them, Collateral ends perfectly. I also loved Vincent’s final remark, and his attempt near the end to psych out Max. Foxx incidentally does an excellent job in a dramatic role; I would never have guessed he is a comedic actor. Beginning

Colossus: The Forbin Project (1969) (***, Sci Fi) (D-George Stanford Brown, Eric Braeden, Susan Clark) A remarkably well done, low budget Sci fi thriller. Professor Forbin (Stanford) completes the implementation of a super computer system that controls the entire US defenses (with complete information input and no emotions). Stylish development of a rather predictable theme. The ending, however, has a very sharp edge and is quite believable in its commentary on human nature. The computer technology is delightfully primitive, especially given the scant twenty some years that have elapsed. And yes, all computers used to have banks of lights on them, and the lights actually did serve a real purpose beyond making good sci fi props. The film was nominated for the World SciFi Society Hugo Award. Beginning

Comical Cons (????) (****, humor) This was shown at the Film Festival. It is a collection of three of the silent greats, the short Convict 13 (1920) by Buster Keaton, the short The Adventurer (1917) by Charlie Chaplin, and the full length Tramp, Tramp, Tramp (1926) by the baby faced Harry Langdon with an all but unrecognizable Joan Crawford in her screen debut and also directed by the unbilled Frank Capra. The film came with musical accompaniment, but they turned this off and we were treated to a theatrical style live accompaniment by the incomparable Art Wheeler at the piano keyboard. Wheeler is a local, with a strong following. One of his specialties is silent film accompaniments. This is a true art form. As with many early silent films, Art does it with no score. Although I didn't get a chance to ask him on this one, it is quite likely that he never saw the film beforehand. When he played for The Virginian a couple of years ago, the closest he came to a score was by asking if it had certain types of scenes in it. Then he literally conjures up suitable music as the film progresses! Awesome! This is silent film as it was meant to be watched.

Of course, some of the humor seems dated, but these are the originators. In spite of overuse, we still got lots of belly laughs from all three films and there were plenty of scenes that were still fresh. These films leave little doubt as to why these men are considered comic geniuses. (11-10-97) Beginning

Congo (1995) (**, sci fi, adventure) (D.-Frank Marshall; Brian Cambell, Laura Linnier??, Dylan Wale??, Ernie Hudson, Tim Curry) What a disappointment. Save money and wait until it appears at the Jefferson. On second thought, save those two dollars. On third thought, support some starving director and actors, go out and rent a low budget **1/2 video tape where the director and cast, using talent rather than cubic dollars, have managed a better, more interestng story than Congo.

The plot and story line are weaker than a low B horror. You develop no empathy with any of the characters except, perhaps, Amy, the talking gorilla. As with B horror, the only suspense is in eagerly anticipating which of the bad actors will be torn limb from limb by the killer apes; then we won't have to listen to them spouting bad dialogue poorly (the actors, not the apes). I'm not absolutely sure about some actors' names. They weren't on the theater marquee, and the director didn't put their names on the screen until the final credits where they raced by too fast for me to write them down--possibly at the insistence of the Actors' Guild who had hoped that theaters would mercifully empty before their names appeared and their careers were ruined. The only actors who looked like they were having any fun were the seasoned Curry and Hudson ("The Great White 'Black' Hunter"), and both appear to resign themselves to their fates and just ham it up.

Some nice special effects are about the only thing good about Congo. A large hydraulically-controlled stage was used for the destruction of the ancient city. Since multiple takes were required, each piece was numbered so that it could be put back in the right place. The lava was a synthetic fluid of the right consistency, and the red hot color was added later by computer graphics. Also, the hippo attack wasn't bad. As it turn out, what hippos lack in looks they make up for in being extremely territorial and vicious. Thus, the only hippo you see is an automated one. The director kept reshooting the attack to get it right. As Hudson said, it was fine for the director since he wasn't getting repeatedly soaked and bruised--but at least it wasn't a real hippo or they'd all be dead.

Actually, Congo is just the SAFARI film in high tech garb. It even has King Solomon's mines in it. However, if you want to see the gold standard of safari movies, see the unedited (102 minutes) 1950 King Solomon's Mines where there is more excitement and tension in the minute or so of the veldt stampede than in all of Congo. (7-5-95) Beginning

Conspiracy Theory (1997) (***1/2, romance, humor, thriller) (D.-Richard Donner; Mel Gibson, Julia Roberts, Patrick Stewart, Cylk Cozart) For me Conspiracy is a fine throwback to the humor laden romantic thrillers of earlier times such as Hitchcock's great 39 Steps. Jerry Fletcher (Gibson) is a cab driver who is absolutely convinced that the world is teeming with conspiracies. His world is made of "They" and "Them" who are responsible for everything that goes wrong. One of his more rational visions is that NASA is planning to assassinate the President with an earthquake. He is a continual stream-of-consciousness flow and his mouth is connected directly to every paranoid thought that floats through his febrile mind--and there are precious few other thoughts. In short, not the sort of young man you would like your daughter to bring home. His major activity is writing a newsletter "Conspiracy Theory". His way of distributing it is a classic that befits his paranoia. He is continually hounding a government legal attorney Alice Sutton, (Roberts) whom he once saved from muggers; but his continued paranoia has worn his welcome thin. Then, Jerry and Alice find out that you aren't paranoid if they ARE trying to kill you.

Gibson is the film. His performance is inspired, and you may leave the theater wondering how many of his ideas are correct. While Roberts makes a solid foil for his paranoia, THEY never found the right comedic balance for her. About the first two-thirds of the film was great. They lost the comedic timing for a while and were only rebuilding it towards the end. If only they could have held it all the way through. In contrast to so many current movies that are action driven, Conspiracy is largely a character-driven film with a few action sequences.

As an aside, the scene with the rocket proved more exciting than the director had intended. It came off its guidewire and really did chase them down the hall. (8-25-97) Beginning

The Constant Gardener (2005) (**1/2, drama) (10-10-05) (D.- Fernando Meirelles; W.-Jeffrey Caine; based on novel by John Le Carre; Ralph Fiennes, Rachel Weisz, Danny Huston, Hubert Kounde, Bill Nighy, Pete Postlethwaite) Without giving anything away, the film begins and we know that Justin Quayle’s (Fiennes) wife Tessa (Weisz) has been killed. He is a diplomat in Africa and she was an activist working with a health organization. How they met, how they ended up in African, and how she probably died are arrived at in an elliptical series of flashbacks as Justin searches for the reasons for her death and moves towards the final revelations and denouncement. Justin is about to learn a great deal about his wife that he didn’t know and hasn’t even suspected. Given this is a Le Carre, it comes as no surprise that there is a ruthless corporation and equally reprehensible individual villains. The film is visually pleasurable to view with its stunning cinematography, much of it taken on location. However, the whole movie falters in two important regards. For a villain to be credible, the rationale and behavior must make sense. The machinations and reasons for the behavior of the corporation are never made clear in a logical fashion, and there were more logical ways to deal with Justin. One has to accept that they behave this way in spite of logic. The second problem is that the story just isn’t told in a very compelling fashion that would allow you to really grow to care about someone in the story. So in summary, I would have to rate this as a beautiful failure. If you want oblique story telling, beautiful imagery, great acting, and logic, check out The English Patient. This is a big screen film if you plan to see it. For a counter-view, Roger Ebert considers it one of the best films of the year so check out his review.

Contact (1997) (***1/2, sci fi) (D.-Robert Zemeckis; Jodie Foster, Matthew McConaughey, James Woods, John Hurt, Tom Skerritt, David Morse, Angela Bassett, Rob Lowe) A literate, intelligent film written by James V. Hart and Michael Goldenberg, based on Carl Sagan's 1985 novel. Dr. Eleanor Arroway (Foster) is driven in her search for intelligent life out there--somewhere--and is actively pursuing it through radioastronomy. Her reasons are believable and very human. I have seen far less compelling reasons for other driven scientists. She meets, and has a brief fling with, Palmer Joss (McConaughey) who is equally driven but in a more religious vein. The story builds around her finally getting that deep space signal, which contains plans for some sort of transporter/communications device. Humanity's reaction follows. Of course, the President's National Security Adviser Michael Kitz (Woods) is paranoid and considers the whole thing a potential invasion plan--but he is the Security Adviser and is paid to be paranoid. I won't give much more away.

Contact has elements of a sci fi story, a love story, and a philosophical discussion of how our place in the universe and the development of a personal philosophy. It has complex, believable, intelligent people expressing different views on subjects where there is no proof and, therefore, everyone's viewpoint is valid. For example, who should be our first representative to meet with an alien race and what types of views should they have? David Drumlin (Skerritt) as head of the NSF is believable in both his real, if somewhat patronizing, concern for Eli and his own very human desire for recognition and power. The love story works. The power of the film is enhanced by first rate acting throughout.

One of the things that I really like is that Contact portrayed a scientist as a true three-dimensional character. She is driven by her science, but she also has a wide range of very real human needs, fears, strengths, and weaknesses. Foster's interpretation is stellar (no pun intended), and I think she is likely to be considered for an Oscar.

While I thought the film first class, others find it boring or possibly offensive. However, I don't think the film plays fast and easy with faith or religion. In fact, it suggests that Arroway in her own way is as bound by faith as the most religious. So I guess you'll have to make your own decision. At 150 minutes, I do think the film ran somewhat longer than necessary.

Now for a few random thoughts. I like the refrain throughout the film: "Do you think there are people on other planets?" Response: "I don't know. But if it's just us, it would be an awful waste of space." I did find the question "Is the world a fundamentally better place because of science?" amusing. The speaker could use a little more historical perspective concerning the quality of lives in earlier times. The first observatory is the magnificent fixed dish at Arecibo, Puerto Rico. Give it a look if you are ever on the island. It is built into one of the sink holes in which the area abounds. However, contrary to the suggestion in the film, the road to the observatory from San Juan is a fine highway. But DON'T take the secondary on the map back! The map is incomplete. There are no road signs or they are wrong. You drive on an allegedly double lane road that is so narrow two cars cannot pass. Jungle overgrows what road there is. Sink holes fall away on one side, and cliffs rise on the other. But it is beautiful terrain.

The White House was incensed by the use of Presidential news footage taken out of context to carry the story line. To me this objection seems hypersensitive. The context is such that no one could believe that Clinton was actually making these references about the items in the movie. It was pure dramatic license. Forrest Gump was a far more blatant example, but again no reasonable person would think it reality.

One thing we weren't sure about is whether they actually filmed at the large radioastronomy array portrayed west of Socorro, NM. The ground vegetation didn't look right, and there was no acknowledgement in the final credits. My wife is absolutely convinced that there are no canyons like the one shown in that portion of the state--I disagree. They did have the Albuquerque TV crews looking right. So if anyone knows, let me know. (7-21-97) Beginning

Conversation, The (1974) (****, drama) (D-Francis Ford Coppola; Gene Hackman, Harrison Ford) For sheer claustrophobia, The Conversation is an outstanding example of extremely clever directorial handling. Hackman plays a paranoid, obsessive surveillance expert. On what seems like a simple job, he records more than he had planned to and becomes involved with some of his "subjects". Initially he thinks he is just seeing a murder plot, but in actuality he is in way, way over his head. Michelangelo Antonioni's richly symbolic Blowup (***, 1966) is clearly related with film rather than sound forming the obsessive element. The movie is elegantly and claustrophobically directed with a superb performance by Hackman. Hackman's part is completely atypical for him, which just demonstrates again his outstanding acting. In addition to being a good story, the movie deals compellingly with issues of privacy and responsibility, and their costs. (2-1-93) Beginning

Cookie's Fortune (1999) (****, drama, humor) (6-14-99) (D.-Robert Altman; Glenn Close, Julianne Moore, Liv Tyler, Chris O'Donnell, Charles S. Dutton, Patricia Neal, Courtney B. Vance, Niecy Nash, Ned Beatty, Lyle Lovett, Ruby Wilson) A great film (written by Anne Rapp), a superb ensemble cast, and an Academy level performance by Close. Altman is about 74, and I hope he goes on making films like this until he is at least 100. Cookie's is classic Altman in having a complex, multilayer story filled with richly quirky people. As with much of his work, the secondary action going on around the story is as, or more, important than the story itself. Cookie's is set in Holly Springs, Mississippi, and can best be described as Andy Griffith meets William Faulkner--Southern Gothic with a grin. Altman has a fine gift of satirizing human nature without rancor and of laughing with people rather than at them. The dialogue is sharp and crisp. The story is fascinating as it evolves.

In case you haven't heard the story, I will be vague so as not to spoil some of the surprises. Cookie (Neal) is an old woman who dies by gun shot. Her savagely bitchy niece Camille (Close) wishes to choreograph the death for her own best interests, and because she is a natural born manipulator, actor, and theatrical zealot--she is staging an Easter play and the marquee informs you that the play is "Salome" by Oscar Wilde and Camille Dixon. Her behavior leads to Willis (Dutton), Cookie's best friend, being charged with murder. Nobody can believe he did it. Officer Boyle (Beatty) knows with absolute certainty that he is innocent "Because I fish with him". This mess is further complicated by the return of Cookie's niece Cora (Moore), who rekindles her pyrotechnic relationship with not-so-bright young deputy Brown (O'Donnell). There are a number of riotous scenes that revolve around the jail cell. The scene where the handsome BIG CITY detective (Vance) comes into the jail is a delight, as is the scene where the deputy Wanda and the blues singer shamelessly vie for his attentions during an "interview".

However, the key to the movie is the manipulative Camille. This is a small town and with her years of authority and domination, she rides roughshod over everyone including the police and Cora's apparently simple-minded mother, Emma. Camille manages to just skirt the edge of farce without going over the line. You can believe she is for real.

The investigation is being carried out in parallel with the preparations for the Easter pageant. Of course, in this small town many of the pageant participants are also actively involved in the murder investigation, which makes for some interesting scenes.

Holly Springs is one of those corners of the universe where people move at a different pace. Pay attention to all of the signs and other tidbits scattered around. How many other places would boast signs such as "On this day in 1897 Nothing happened". Or have residents with such classic and heartfelt lines as "You can tell a lot about a man by the color of his tackle box." Or, in defense of Willis, "He never drinks before Tom Brokaw". It is that kind of town.

As with much of Altman's work, little is as it seems and there are complex interactions and relationships in what at first seems like a simple situation. Everyone gets what they deserve and, in their own way, nearly everyone is probably actually happy. I can hardly wait to see it again. Beginning

Copycat (1995) (***, crime, drama, horror) (D.-Jon Amiel; Sigourney Weaver, Holly Hunter, Dermot Mulroney, William McNamara, Will Patton, J. E. Freeman, Henry Connick, Jr.) Slick thriller about serial killer expert and psychologist (Weaver) being stalked by a serial killer who uses a unique ploy to get Weaver's attention. Hunter is the police detective who consults Weaver to try to get a handle on the killer. The acting is excellent, the heightening tension well done, and the use of computers as a character in plot development polished and very effective. The film falters in a few critical places. The climactic event involving Hunter's partner is totally out of context and disrupts the thematic flow. The police, or at least Weaver, should have picked up on the type of job or other access the killer had. If I got it, they certainly should have. Also, the killer's necessary long-term preparation seems unrealistic as does the ease with which he penetrates all safeguards.

The film is violent but, despite the opening gore, has nowhere near the gratuitous gore of Seven. Much of what you see is used to set mood and build the impending sense of doom. In particular, the opening may be required to explain Weaver's agoraphobia, which immobilizes her as effectively as if she were chained in her apartment. Incidentally, Weaver found the shoot very intense and disturbing. She did not like the hallway at all by the end. The director actually does give a number of clues so that a good memory will allow you to anticipate what is going to happen in very general terms. (11-6-95) Beginning

Count of Monte Cristo, The (2002) (***, action, drama) (3-4-02) (D.-Kevin Reynolds; James Caviezel, Guy Pearce, Richard Harris, James Frain, Dagmara Dominczyk, Luis Guzmán, Michael Wincott) Based on Alexandre Dumas' The Count of Monte Cristo. The film, in addition to being about revenge, is also a love story. I have not read the novel, but I understand there are major philosophical and story differences. Some lovers of the book love the film while others hate it. A young, naïve Edmond Dante (Caviezel) is falsely imprisoned with the collusion of his self-serving friend Fernando Mondego (Pearce). A brutal imprisonment, training at the hands of long imprisoned Abbé Faria (Harris), escape, and brutal revenge form the backbone of the film. Revenge is best served cold and the revenge here is icy.

The film is sumptuously photographed and beautiful to look at. The story is entertaining to watch as it plays out. Some of the performances are excellent. Harris is superb as the aging mentor. Pearce is outstanding as the ruthlessly self-serving friend and Caviezel does a nice job as the naïve young man, someone who misses the warning cues and is exploited by those around him. Unfortunately, when it comes to the revenge part, he lacks the depth to make his hatred and satisfaction believable. I think that Pearce would have been a much better choice for Dante. I give the film a guarded *** overall; it shows well on the big screen.

Unfortunately, overall the film is not tightly edited, drags in places, and the ending is just too Hollywood and does not ring true. The film requires a hard-edged ending to be consistent with the overall tone. Beginning

Courage Under Fire (1996) (****, action, drama) (D.-Edward Zwick; Denzel Washington, Meg Ryan, Lou Diamond Phillips, Michael Moriarity, Matt Damon, Seth Gilliam, Scott Glenn) Courage has generated both strongly positive and strongly negative reviews. The set up is swift and sure. Lieutenant Colonel Nat Serling (Washington) commands a tank battalion during the Gulf War. In the flames and chaos of battle, he fires on an Iraqi tank--but it isn't. Six months in the future. He is acutely depressed, is drinking heavily, and has been assigned to the medal awards office. His current assignment is to study and pass on the posthumous Medal of Honor certification for Captain Karen Walden (Ryan). Walden was captain of a medivac chopper that was shot down trying to save a downed crew. The heat is on. Walden would be the first female Medal of Honor awardee, and the political benefits would be enormous. However, a simple review quickly muddies the water. The story unfolds in Rashomon flashback style as each survivor of her crew relates differing versions of events to Serling. Having erred grievously once in the performance of his duty, Serling sets the accurate resolution of Walden's case as a measure of his worth and his salvation.

Unlike Rashomon, Courage is not concerned with Ultimate Truth and Reality at the end. It is a solvable mystery arising from human behavior under intense pressure, and the way some rise nobly while others fall. It is about self imposed man-made hells, redemption, and punishment. Finally, it is unabashedly melodramatic, and it works for me.

Courage has a fascinating way of telling the story. The acting is excellent across the board, especially Ryan who must play several roles portrayed by different narrators. Contrary to some complaints about Ryan not being macho enough for the part, she didn't have to be. She could be a consummate military professional--and that says it all.

Many of the scenes are superbly crafted. The swimming pool scene is gorgeously orchestrated and the nuances reveal so much more than seems to be said. The opening battle scene conveys in a few broad brush strokes the adrenaline, the fear, the confusion, the blood lust of battle and leaves a better understanding as to how the deaths by friendly fire occur. The film's one grating weakness is the almost endless series of melodramatic endings. The director would have been well served to have continued his terse style and give the audience credit for having the intelligence to fill in some of the blanks. Also, the resolution of the tank battle was unnecessary; it needed nothing further.

I think some reviewers object to Courage because of its superficial resemblance to Rashomon, that utimately doesn't deliver the original's superb ambiguity. In my opinion, Courage never intended to explore this terrain. Its simpler goals and clearer moralistic message make such comparison seem completely inappropriate. If you are unfamiliar with Rashomon, see the accompanying review. (8-5-96) Beginning

Crack-Up (1946) (***1/2, thriller) (D.- Irving, Reis; Pat O'Brien, Claire Trevor, Herbert Marshall, Wallace Ford) First-rate thriller about art expert returning from the war to his former job in art museum. Fine, convoluted Hitchcock style plot coupled with excellent dark brooding film noir cinematography--the mesmerising train thundering through the night during the opening credits sets the tone. I haven't told you anything about the plot and I am not going to. I won't spoil any of your pleasure. Tight, tense, and unsettling from the opening seconds. Also, exceptionally dense where you hang on every word, gesture, and nuance with the feeling (absolutely justified) that everything is relevant and nothing can be ignored. I think that the plot doesn't quite hold together in every detail and the director doesn't give you enough to figure out everything, but why quibble over a few petty details? TV Perry Mason fans will recognize a much younger Lieutenant Trask. Based on a short story by Fredric Brown-probably the same Brown who later became a master sci fi writer with a special knack for short stories with nasty plot twists. Enjoy. (3-28-94) (11-5-97) Beginning

Crack in the World (1965) (**, 50s sci fi) (D.-Andrew Marton, Dana Andrews, Janette Scott, Kieron Moore, Alexander Knox, Peter Damon) Dated but entertaining Sci fi where scientists in their hubris try to breach the earth's mantel to free unlimited energy for man's use. Unfortunately, a self-propagating crack threatens to split the world into a billion flaming shards. Above average special effects aided in part by some natural vulcanism. Some amusing gaffes such as when the scientist photographs the glowing lava filled fissure from a deep sea craft--with a flash camera. The flash would never reach the fissure and the reflection off the windows would block out any image that the camera might otherwise make out. Also, no one in the vicinity, or probably the world for that matter, would survive the final explosion and resultant tidal and oceanic effects. (2-15-94) Beginning

Craft, The (1996) (**, comedy, horror) (D.-Andrew Fleming; Robin Tunney, Fairuza Balk, Neve Campell, Rachel True, Sheet Ulrich) Prettily presented with some impressive effects, but disappointing. From the TV trailers, Craft looked like a promising satirical view of the rites-of-adolescence passage as experienced by four high school novice witches. Three girls (Tunney, Balk, Campell) are your typical outcasts because they are different. Well, as self-proclaimed witches they don't exactly fit in. To this basically harmless group, a newcomer (Fleming), who has genuine inherent power, arrives . Her potential coupled with the power lust of the trio's head (Balk) destabilize the situation and drives the film from its light opening towards a standard special effects gory finale. While Craft occasionally catches the angst and irrationality of this period of youthful insanity, it plays the first half too straight for me and doesn't do anything noteworthy on the horror. For the transition to have worked, it would have been necessary to develop a real sense of unease and foreboding to presage the horror; but the director and writer failed. I did like Balk's over the top performance, and there are several quite effective mirror scenes. In particular, the one in the gym snapped me up. It looks almost right, but the mind is screaming "Wrong! Wrong! Wrong!" before it becomes obvious why. (2-24-97) Beginning

Creature (1985) (*1/2, sci fi, horror) (2-22-99) (D.-William Malone; Stan Ivar, Wendy Schaal, Lyman Ward, Robert Jaffe, Diane Salinger, Annette McCarthy, Klaus Kinski) Low budget Alien wannabee. An exploration of one of Saturn's moons discovers alien lifeforms. Other ships from competing companies come to exploit this treasure trove with lethally predictable results. A little skin, a little sex, a lot of blood as the monsters gnaw their way through the so-so cast. Creature is noteworthy as one of the few times you get to enjoy the quirky Kinski. You might think he is hamming it up. In reality he was every bit as strange in the flesh as his persona in this film. If you want to see the definitive performance of mad, check out his stellar performance in Aguirre: The Wrath of God. Beginning

Creature From the Black Lagoon (1954) (***, horror) (1-22-01) (D.-Jack Arnold; Richard Carlson, Julia Adams, Richard Denning, Antonio Moreno, Whit Bissell, Nestor Paiva, Ricou Browning) You can either be first or you can be good. Creature is first in a long line of slimy creatures with less than honorable intentions threatening fair (and scantily clad, fainting, and screaming) damsels. And of course you get the usual conflict between scientific and commercially-driven plots for bringing the monster back alive or the very pragmatic killing it. Now, of course, the plot is so hackneyed as to be ludicrous, but then it had some genuine thrills. Even today, the underwater cinematography and swimming of the monster is exceptional. Even the creature is still credible. As you will quickly notice, his monster suit isn’t big enough for an oxygen tank and they couldn’t connect him to an air line most of the time. Creature still plays today as a good popcorn 50s horror film where you will get as many laughs as chills. The film was shot at Wakula Springs just south of Tallahassee, Florida, one of the most stunningly clear fresh water lakes in the country.

Shown at the 1999 Virginia Film Festival in two color 3-D. For those unfamiliar with the process, you have a pair of colored glasses with one eye covered with red cellophane and the other with blue. Two stereoscopic images are projected in the appropriate color to be seen through the appropriate eye. As an amusing aside, the glasses used for the film were labeled for the film Freddy’s Dead, which had a 10 minute 3-D segment at the end. I guess you get 3-D glasses wherever you can. The 3-D was quite erratic. Where it works it was impressive, but much of the time, it was out of kilter. In spite of this, it was state-of-the-art for its time. No one had done 3-D underwater and with mobile cameras it was stunning. I couldn’t watch the whole film, but my wife and son said that eventually your eyes adjusted to it. However, not a problem on the rentals since it shows non-3-D. As an amusing aside, this last fall the TV show "Voyager" had the 3-D version of Creature playing on a screen in the background. With the festival’s 3-D glasses, you could actually get glimpses of the 3-D effect. The black and white version is very easy to watch and the cinematography striking.

The film was actually shot in Florida and in California with two different crews and two different monsters. All the underwater swimming in the monster suit was done by Ricou Browning, while above water it was filled by the 6’5" Chapman. The two suits are slightly different and if you look closely you can apparently see the differences. Because Browning was so much smaller than Chapman, they paired him against much smaller actors (Stanley) to preserve the size difference.

The DVD has a fine running commentary over the film by film historian Tom Weaver. It is filled with lots of anecdotes, analysis of the film, and facts. For example, Chapman had lead weights in his feet to give him the characteristic walk. Weaver points out the telephone pole in the background as the ship enters The Black Lagoon, in the most isolated reaches of the Amazon. He describes the three different eyes the monster had to use and the techniques used to do the underwater work without oxygen tanks. Also, he points out where the monster is on a ladder rather than pulling himself up on a rope; the suit was too waterlogged and heavy and the gloves too slippery. And for an absolute bit of film trivia, the sound of the crashing truck at the end of Spielberg’s The Duel was a distorted version of the monster’s roar. Review based on the 3-D showing at the film festival and the black and white DVD from Sneak Reviews. Beginning

Creature Wasn't Nice, The (1981) (Bomb, Sci Fi, humor, musical) (D.-Bruce Kimmel; Cindy Williams, Bruce Kimmel, Leslie Nielsen, Gerrit Graham, Patrick Macnee) Most movie reviewers have a Bomb category. To date, I have not needed this. Creature necessitated a Bomb rating. Run, do not walk to the nearest exit. An alleged spoof of all the 50-60s style sci fi horror films. The U.S.S. Vertigo and the crew of misfits, led by a vague captain (Nielsen--an obvious parody of his captaincy in Forbidden Planet) picks up a small piece of animated jello on a newly discovered planet. What could go wrong, even after it grows to about 6 feet, with a huge eye and slimy appendages? Of course, the mad scientist (Macnee) wants to preserve it at all costs--even when it is singing "I want to eat your face."! A few of the jokes work marginally, but mainly it is tasteless and rip snortingly unfunny. The version I watched used the alternative title Naked Space (1983). (7-15-96) Beginning

Crimson Tide (1995) (***1/2, war, drama, thriller) (D.-Tony Scott; Denzel Washington, Gene Hackman, George Dzundza, Viggo Mortensen, James Gandolfin, Matt Craven) I have a few complaints that are not shared by my wife. I found the sound track intrusive, the philosophy got a bit preachy, and some of the opening scenes (especially the early views of the submarine, which reminded me of the orginal Star Trek movie where the director was overly enamored with special effects). While not a major complaint, the plot-- as with many thrillers--will not stand a close postmortem. However, as with good thrillers, let's not quibble over petty details. Excellent acting by Washington and Hackman and the supporting cast. The documentary style opening is riveting. This is as believable a prelude to the end of the world as it gets and, in keeping with modern technology, we get it live. Further, once this baby gets rolling on the sub, forget about letting go of the armrests. Hackman is the seasoned captain, Washington his top-of-the-class replacement executive officer. Both men are honorable, responsible and carefully take stock of each others very different styles. Both men act logically and very much at cross purposes. As the world ticks towards doomsday, the crew is caught in the middle and vacillates in alliance as logic, fear, loyalty, and duty alter their views. The special effects are very effective. (Footnote: The energy content of the batteries that power torpedos to the 50+ knots required to catch a modern submarine is 50% that of TNT. In short--bombs.) In my opinion, the movie should have ended about 5 minutes earlier but, as with so many movies, the writer and director do not give the audience enough credit. The issues here are complex, and the audience should be given the opportunity and the frustration of trying to sort out the consequences themselves. Also, in this particular case, I think the answers were too pat and not overly realistic. The repercussions would be far more reaching and brutal than portrayed. (5-22-95) Beginning

Criss Cross (1949) (***, noir, classic, crime) (D.-Robert Siodmak; Burt Lancaster, Yvonne De Carlo, Dan Duryea, Stephen McNally) Bleak, effective noir. Lancaster returns to LA after trying to get ex wife De Carlo out of his system. He didn't, and a less than fortunate encounter reignites the fire. Unfortunately, crime boss Duryea now complicates the situation. As with any good noir, fateful choices have brutally far reaching consequences.

Some beautiful cinematography and set ups. I particularly liked the opening. Ever so much is conveyed as the lovers are caught in car headlights in the parking lot like a pair of jack-lighted deer. The story then unfolds in flashbacks as the principals race head long toward disaster. Other great scenes are where Lancaster encounters his wife after his return and the hospital sequence, which has a tangled feel of paranoia and dread. Lancaster doesn't really have the intensity necessary to make the part fully believable. De Carlo is called a femme fatale in noir books, but I think she is as much a victim of her own impulsive behavior as Lancaster.

For the nonchemists, "S-I-C-L-4" is silicon tetrachloride (SiCl4), which makes a respectable dense white smoke screen when it reacts with water vapor in the air. The hood would have had to know a fair amount of chemistry to have recognized it. (7-29-96) Beginning

Critic

A critic is a gong at a railroad crossing clanging loudly and vainly as the train goes by.

Christropher Morley Beginning

Critters (1986) (***, humor, sci fi) (D.- Stephen Herek; Dee Wallace Stone, M. Emmet Walsh, Billy Green Bush, Scott Grimes, Nadine Van Der Velde, Don Opper, Terrence Mann) Critters falls into my realm of guilty pleasures. Tasteless, low budget sci fi. It looks like a rip off, particularly of Gremlins; it is a rip off, and it is low budget. Yet I really enjoyed it. It is done tongue in cheek, with wit, style, and one of the greatest little alien creatures in some time. Plus, it is high spirited and everyone seems to be having a good time. A prison ship carrying the vicious Cripes is taken over by its charges who escape to Earth (ala Blade Runner) where they terrorize a small town. Of course, in standard sci fi horror style, people don't realize initially what is going on. The Critters are basket ball sized fur balls with more ivory than a piano. They feed in packs and make piranha look positively dainty. Their mode of locomotion is to form a ball and roll like a tumble weed in a wind storm. To the rescue come alien bounty hunters who can assume the shapes of local residents (ah, fewer actors), carry armament like those in Men in Black, and are about as trigger happy. The attached picture of one of his Critters is courtesy of Jarn Heil, the special effects expert responsible for many of the delightful F/X in the Critter series. Warning: Funny should not be confused with the absence of gore. (2-2-98) Beginning

Crouching Tiger, Hidden Dragon (2000) (***1/2, fantasy, martial arts, romance, drama) (2-12-01) (D.- Ang Lee; Chow Yun-Fat, Michelle Yeoh, Zhang Ziyi, Cheng Pei Pei) Based on the novel by Wang Du Lu. Hang your rational mind on the coat hanger at the door. Tiger is pure fantasy. Accept that and this romantic film works. The martial arts are so over the top that I found it off-putting until I accepted the film at the myth, fairy tale level. The film is about unrequited love, lost love, ambition, honor, good, evil, destiny, and vengeance. Li Mu Bai (Chow) is a noble warrior who longs to revenge the death of his master at the hands of Jade Fox (Pei Pei). He also longs for warrior maiden Yu Shu Lien (Yeoh) whose love for him is equally strong, but both are held in check by circumstances and a sense of honor. “When it comes to emotions, even great heroes can be idiots.” The young selfish beauty Jen Yu (Ziyi) is constrained by society, but is tempted by the dark side. She also loves Lo, a man culturally beyond her reach.

The precipitating crisis that brings these disparate threads together is the theft of Li’s sword, the magnificent Green Destiny. “Too many men have died at its edge” and many at Li’s skilled hand. Li has tried to relinquish his duty by giving the sword away; however, fate and honor will not let him off so easily. People must die, and debts must still be paid. Green Destiny is also a constant thread throughout the story, and a metaphor for the struggles of the humanity around it.

The martial arts sequences are marvelously choreographed. If they remind you of The Matrix, they should. Both are choreographed by the awesome Yuen Wo-Ping. As I said earlier, they are over the top. Impossible. But with a striking beauty. The fight in the treetops is a particular standout. However, the action is often sped up to a point that visually and mentally it cannot be followed, and the stunning grace and beauty of the actors cannot be appreciated. Less would have been more. Incidentally, that is almost always the actors on the screen as all are superb martial artists. The supporting wires have, of course, been removed—note the credits.

The cinematography is stunning and develops the story. The acting excellent. One is consistently furious with the pig headed stupidity of Li. The sound track is suitably moody, and is a mixture of eastern and western. Tiger is a big screen film and must be seen in a theater.

Tiger reminds me of other films and stories including Starwars and Beowulf. As with many fables, it is a cautionary tale of hubris and the dangers of blind adherence to inappropriate codes. And of the sword, “Once you have seen it tainted with blood, its beauty is hard to admire.”

Review based on the current showing at Vinegar Hill Theater. The weekend showings have been sold out up to and including the 4:30 Sunday one that we attended. Beginning

Crying Game, The (1992) (***, drama) (D.-Neil Jordan, Forest Whitaker, Miranda Richardson, Stephen Rea, Jaye Davidson) Don't let anyone tell you about it and don't read anything about it. An Irish terrorist group kidnaps Jody, a British soldier (Forest Whitaker). They threaten to kill him unless one of their captured mates is released immediately. One terrorist, Fergis (Rea), bonds with Jody; they learn a great deal, too much, about each other. Well acted, taut, emotionally draining, and largely unpredictable. The R rating for sexual content and violence is very well deserved; parts can be very shocking. Definitely not for all tastes. You were forewarned. Even some who feel it is well done, don't like it. However, Rhea's performance as the weary terrorist is superb. Do go over the parable afterwards. Rea, who will not state his actual views has more than academic interest in the Irish-British conflict. His real life wife was once jailed for an IRA terrorist bombing. (3-9-93) Beginning

Cube (1997) (***, psychological thriller, horror) (6-30-03) (D.-Vincenzo Natali; W.-André Bijelic, Vincenzo Natali; Nicole de Boer, Nicky Guadagni, David Hewlett, Andrew Miller, Julian Richings, Wayne Robson, Maurice Dean Wint) Another sleeper Canadian film. I picked it up on a lark looking for a grade Z sci fi. Although in retrospect, I don’t think calling it sci fi is appropriate. It is much more a character study. Amazing what a good director and writers can do with a negligible budget and time. Six people awake separately in surrealistic cubes. They have no memory of how they got there or why. All are dressed similarly in prison-like garb with their name stenciled on their uniforms. The cubes are 14 feet on an edge, with a hatchway in the center of each face that leads into another virtually identical cube. However, this is actually a maze with lethal traps sprinkled throughout. One miscalculation and one less person. How they assemble, how they work their way through the maze and how they interact with each other is the story.

This is never the movie you think it is. At each stage when you think you have figured out the group dynamics and the direction, it reinvents itself. Surrealistic, unbalancing, and genuinely creepy. Who would have thought that you could make such a taut film based on a set of virtually identical rooms?

I am not going to tell you any more about the story line and if you rent it, do not watch the trailer beforehand. It gives too much away.

If you like paranoia and conspiracy, this film is for you. However, it definitely takes a unique spin on it. I should warn you that the viewers of the film fall into two categories. Those that really like it and those that thought it was one of the worst films that they had ever seen. Even some who liked it, disliked the ending. I think the ending works although some of the final mechanics to get there are unrealistic. If you insist on a clear cut, detailed explanation, Hollywood ending, this film is not for you. Like much of what happens, the interpretation is ambiguous.

The entire set consisted of one room and part of another; the one they were in and the one you could see through the passage. Only three doors worked. Lighting was used to change appearances. It works. You never felt bored with the same thing over and over. The room was a masterpiece of set design. Claustrophobic. Surrealistic. Uncategorizable as to origin. In short, disturbing.

The DVD (Sneak Reviews) has a trailer, deleted scenes, and an informative voice over of the film by the director and actor Hewlett. The film was shot in 21 days. Because of the low budget, C.O.R.E agreed to do all of the cgi gratis. Also, the human models were supplied by Caligari gratis except for the cost of materials. The hatches between rooms changed during the film if you look closely. They couldn’t get them to close automatically at first and all the shots where the doors don’t operate were shot first in the hope the problem would be solved by the end. In one scene, a stunt double is completely computer generated before you saw them in Titanic.. The film was supposed to be shot chronologically, but the quick change lighting in the room wasn’t quick change enough; to get the movie done in 21 days, all shots in one color of room were shot at the same time. The autism is apparently very correctly portrayed.

The math actually makes sense. Knowing full well that people would check the math, the director had a math professor work it out for them. He set up a 5x5x5 room cube that worked as claimed. For the larger real system, the professor stated that he could get another Ph.D. if he would solve that one. However, because of the cost of making numbers, you actually see a repeat towards the end rather than the correct value.

The director also did a 25 minute short, Elevated, that I have read about and would love to get my hands on. Three people are caught in an elevator in a high rise. One claims they are being pursued by monsters in the building. By all indications it is filled with the intensity and paranoia of Cube with a stunning climax. Beginning

Cujo (1983) (***, horror) (D.-Lewis Teague, Dee Wallace, Danny Pintauro, Daniel Hugh-Kelly, Christopher Stone, Ed Lauter, Mills Watson, the dog) As Stephen King has so amply shown, horror can come from any direction and in any form. Regrettably, most of King's novels don't travel well to the screen. Cujo is an exception. A gentle 200 pound rabbit-chasing St. Bernard becomes your worst nightmare after being bitten by a rabid bat. In the climactic and horrific ending, the son and wife of the dog's family are trapped in a car by the dog, and we have an epic confrontation between raw nature and a mother protecting her young. The transformation of the dog from family pet to four legged death is awesomely frightening. Be forewarned. Let your nails grow beforehand so that you have something to chew on at the end. The book ends differently. (8-30-93) Beginning

Curse of the Jade Scorpion, The (2001) (**1/2, comedy) (3-11-02) (DW.- Woody Allen; John Tormey, John Schuck, Woody Allen, Elizabeth Berkley, Kaili Vernoff, Brian Markinson, Helen Hunt, Wallace Shawn, Dan Aykroyd) A throwback to earlier Allen-style films. Enjoyable fluff. In 1940 CW Briggs (Allen) is already an anachronism. The antithesis of the hard boiled detective with one major difference; in his own quiet, slovenly way he is very good at sniffing out fraud and locating the perpetrators. Enter “steel-rod-for-spine” efficiency expert Betty (Hunt) who believes that records should be alphabetical and neatly filed. Water and burning gasoline would be a more pleasant combination as they rip into each other. Before the ultimate blood bath, however, they are hypnotized and … But why should I tell you what the curse is and how it will play out? It does involve romance, double-double crosses, mistaken identities (sort of). The chemistry between Hunt and Allen is believable, and the ending very charming. The supporting actors, many Allen regulars, do a fine job and play off of each other like a well-oiled machine. The film uses a number of noir rip offs and there is a fabulous Bacall take off. Review based on the DVD with the trailer, biodata on the actors, and a text description of the origins of the story. If you in the mood for a pleasant Saturday evening diversion, you can do a lot worse.

Cutthroat Island (1995) (**1/2, action) (D.-Renny Harlin; Geena Davis, Mathew Modine, Frank Langella, Maury Cahykin, Patrick Malahide, Stan Shaw, Harris Yulin) Cutthroat was the Waterworld of 1995. An awesome $100M budget and savaged by the critics who gave it less quarter than the ruthless pirate Dawg (Langella), who walks his one-legged brother off the plank. I'm not sure why the vile criticism. It isn't a great film, but it delivers mindless action entertainment with amusing characters and situations, swashbuckling action, and plenty of flash and boom. Also, it was much more entertaining on the big screen.

You could outline the plot from just about any pirate movie, but I'll give you a few details. Morgan Adams (Davis) is a hard drinking, much sought after (i.e., big reward) sword wielding pirate who can hold her own against any man. Of course, there has to be a buried treasure and a map that is divided into parts. Each part is held by one of three brothers, one of whom is Morgan's father. The brothers have carried sibling rivalry to an extreme and would relish nothing more than to bury their cutlasses--in each other. Morgan ends up trying to acquire all of the pieces and beat her brutal Uncle Dawg to the treasure. There ensues the requisite ship battles, sword play, barroom brawling, and double double crosses required of the genre. Morgan ends up with a reluctant Latin speaking con man Shaw (Modine), who finds her somewhat more physical approach to life than his to be very trying.

The action sequences are suitably impressive, although ultimately you wish for a little less action and a little more plot. Particularly noteworthy are the carriage chase and the final ship battle. Davis at 6 foot, and with no small skill with the blade, is very believable as someone you would only cross once. Langella is marvelous. He LOVES what he does and is very good at it. His behavior in the final scenes demonstrates this in a very convincing fashion. One realistic element is the pirates. They like the gold, but what really drives them are the adrenaline rush, the action, and the adventure. They have their code of conduct, which may not be the law but they do abide by it. Before the climactic sword fight between Morgan and Dawg, Morgan leaves Shaw in the hold of a sinking ship. As the battle pounds up the stairs, Dawg observes that Shaw just doesn't understand. This is a family thing. Actually, it is an honor thing. Dawg would let Morgan live if she would agree to join him. He knows her word would be her honor. He also knows she will never agree.

As an aside, we watched The Three Musketeers immediately before Cutthroat. Either Cutthroat stole shamelessly from Musketeers or both stole from elsewhere. Also, the feel of the homing pigeon scene in both films had a similar resonance. Beginning

Cyborg (1989) (*1/2, action, sci fi) (9-25-00) (D.-Albert Pyun; Jean-Claude Van Damme, Deborah Richter, Vincent Klyn, Alex Daniels, Dayle Haddon Ralph Moeller, Terrie Batson, Jackson 'Rock' Pinckney, Janice Graser) Someone whose opinion of film I respect recommended Cyborg. "The best Van Damme film." For me Van Damme has done some entertaining movies, but this is not one of them. Dreadful. A post-apocalypse nightmare where Van Damme must shepherd a woman through a plague ravaged countryside inhabited by the starving, the dying, the murderous in order to save the world. Bleak, derivative, poorly acted and plotted, and enlivened by only a few decent fights, Cyborg is a good film to miss. If you want apocalypse with style, wit, acting, plotting, and the best chase sequence ever put on film, check out Road Warrior. Beginning