Posted in: Disc Reviews by David Annandale on June 22nd, 2003
Jared Leto plays Basil, youngest son of the tyrannical Derek Jacobi. Traumatized by the death of his mother when he was young, the exile of his brother (who dallied with a young woman beneath his station), and oppressed by a father for whom class consciousness is the be-all and end-all, Basil is barely equipped to deal with the outside world. He has no friends, and only the most naive notions of romance. Into his life comes Christian Slater, whose worldly ways inspire Leto, and ...ho offers friendship, but in fact has deeply destructive motives. The movie s good fun in the vein of semi-gothic Victorian melodrama. Hearing Leto and Slater sporting British accents takes some getting used to (especially when it comes to Slater), and budgetary limitations show in dreadfully cheesy lightning effects and endlessly repeated establishing shots of Windermere mansion. But if you’re a faithful viewer of Masterpiece Theater, you’ll find much to enjoy here.
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Posted in: Disc Reviews by David Annandale on June 21st, 2003
A serial arsonists is terrorizing the Los Angeles area. Investigating are veteran John Orr (Ray Liotta) and his junior partner Keith Lang (John Leguizamo). Before long, it appears that the arsonist is actually a fireman. The synopsis on the case implies that the film is a mystery: whois the arsonist, Liotta or Leguizamo? In fact, this isn’t really a mystery, since the film is based on a well-publicized case, and when was the last time Liotta didn’t play a weasel? In fact, Liotta becomes the prime suspect quite early on, and we see both his double life and the tightening net.This is a stylish tour-de-force, that makes most other based-on-a-true-story movies seem even more staid and boring than they really are. By turns grim and hilarious, Point of Origin is unfailingly intelligent, and even the music conveys more information than simply mood (listen for the sound of a typewriter, audible right from the start of the film).
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Posted in: Disc Reviews by David Annandale on June 21st, 2003
Made for TV (and showing it, what with that jarring fade-to-black exactly 20 minutes in),this film tells the story of a group of men trapped together in a coal mine when they suddenly strike water and their claustrophobic environments floods. We cut back and forth between their struggle to survive, the struggle to reach them, and the experience of their wives and families. At times, what, precisely, is happening in the mine is a bit hard to follow, though the realism is quite strong.
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Posted in: Disc Reviews by David Annandale on June 21st, 2003
Eleven-year-old Harriet wants to be a writer. Told by her nanny (Rosie O’Donnell) to write down everything she sees, Harriet takes this command to heart and becomes the neighborhood spy. The people she writes about would not be gratified by what she has to say about them, and inevitably, her notebook falls into the wrong hands, leading to some painful lessons for Harriet.The pace is brisk, the editing even faster.
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Posted in: Disc Reviews by David Annandale on June 19th, 2003
Dracula II drops all the characters from Dracula 2000, fudges the ending of that film, but retains the central idea of Dracula in fact being Judas Iscariot, cursed with eternal life. This time around, his sunlight-burned body is recovered by a group of grad students and their crippled professor with the hope of finding a miracle cure from the regenerative qualities of vampire blood. Meanwhile, a vampire-hunting priest named Uffizi (Jason Scott Lee, no more improbable as Italian than he was as Irish in Tale of the Mummy) is on the trail of Dracula (with minor help from Roy Scheider, putting in a few seconds of screen time). Within the limited budget, the story has admirable ambitions, and it skips along at a good pace. Character motivation is a bit hazy at times, however. As well, you’re much better off renting this and Dracula III at the same time,because the story here is very incomplete, leaving viewers hanging in much the same way (all proportions retained) as The Two Towers and The Matrix Reloaded.
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Posted in: Disc Reviews by David Annandale on June 18th, 2003
Fred Ward is a tough, no-nonsense cop. One night (when for some reason he has no partner),he is the victim of an attack, and wakes up with a different face and a new identity. He has been recruited by a shadowy government organization (currently made up of three other people). He is trained by Korean master Chiun (Cabaret MC Joel Grey under lots of makeup) to become a fighting machine. Meanwhile, future starship captain Kate Mulgrew is an army major investigating an industrialist who seems to be fleecing the US military for billions of dollars. All paths will soon merge.
Remo Williams is certainly a cheerful enough exercise, and its puppy-dog-like desire to be just the beginning of an endless series has a certain endearing quality to it. But not that many of the jokes are funny, and the action scenes are flat (which is a disappointment, given that the director – Guy Hamilton – helmed Goldfinger). As well, the training takes up far too much of the film time, relegating the thriller angle to a mere subplot. The film is thus two hours of passable entertainment, but only just.
Posted in: Disc Reviews by David Annandale on June 17th, 2003
This is closer to a being a tone poem than a narrative, so there is hardly any plot as such. We move through Berlin in the company of angels. They can hear our thoughts, but they cannot interfere or feel the physical world. Two of the angels -- Damiel (Bruno Ganz) and Cassiel (Otto Sander) are increasingly disenchanted with their existence, and Damiel, falling in love with a trapeze artist, wants to become mortal. This simple story is built on very gradually, and most of the film consists in our hearing the innermost thoughts of various characters, and all these thoughts are presented in poetic (often elliptical) words. The cinematography is quite extraordinarily beautiful.
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Posted in: Disc Reviews by David Annandale on June 13th, 2003
Essentially, this is standard Hulk stuff: Bruce Banner wants to stop his horrible transformation, General Ross wants to kill the Hulk, Betty Ross wants to save the man she loves,and all sorts of villains get into the mix. There is a bit more continuity than in some other TV cartoon fare (though not on the level of, say, Gargoyles). The animation is standard TV stuff.Keeping the commercial breaks in so obviously wasn’t necessary, I have to say.
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Posted in: Disc Reviews by David Annandale on June 13th, 2003
AIDS is at the forefront of the gay community’s consciousness, and Jeffrey (Steven Weber)is frustrated by how complicated sex has become. His solution is to swear it off, and naturally he immediately meets and falls for Steve (Michael T. Weiss). What to do, especially when you are neurotic like Jeffrey. Fortunately (or unfortunately), Jeffrey has plenty of friends and family who want to help out, including Patrick Stewart, whose line about looking like “a gay superhero”suddenly has more bite than it did in 1995.
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Posted in: Disc Reviews by David Annandale on June 13th, 2003
After a disastrous voyage in which he loses his ship and all his crew, Richard Widmark journeys back from the Mediterranean to Norway (apparently swimming all the way). He say she has discovered the location of a giant bell made of solid gold (don’t ask how well something like that would ring), and along with his brother (Russ Tamblyn) steals the king’s funeral boat(along with his daughter). Off they go for many wild adventures. As you can probably guess, this is an exceedingly silly film, from its eccentric casting on down. But it is very entertaining, and doesn’t take itself seriously.
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