Posted in: Disc Reviews by David Annandale on August 3rd, 2005
Synopsis
There are two Lawrence Tierney vehicles here, and the first is the one that made his name, the 1945 Dillinger. Told in flashback for no visible reason, this chronicles Dillinger’s rise from naive and incompetent thief to ruthless, brutal gang leader, and his ultimate fall. There are some startlingly brutal scenes here, for the time, and if Tierney isn’t quite as scary as James Cagney in White Heat, he’s still plenty menacing.
Posted in: Disc Reviews by David Annandale on July 22nd, 2005
Synopsis
In 1927, young Charlotte Hollis’ married lover (a young Bruce Dern) is hacked apart with a meat cleaver, and Charlotte’s blood-stained dress points to her as the murderer. There is never sufficient evidence, however, and she is never charged, but lives on as the subject of endless gossip, slowly going mad. In 1964, Charlotte (Bette Davis) is decaying as much as her house, which is about to be torn down to make way for a highway. She refuses to give up the house or her past, and, convinced th...t her lover’s widow is trying to driver her out of home and mind, calls cousin Miriam (Olivia de Havilland) to her aid, much to the displeasure of eccentric housekeeper Agnes Moorehead (in the role Una O’Connor would have played had the film been made in the 30s). Soon after Miriam arrives, all sorts of mysterious and terrifying events take place.
Posted in: Disc Reviews by David Annandale on June 24th, 2005
Synopsis
After the suicide of his wife, psychologist De Niro takes his traumatized daughter Dakota Fanning off to a house in the woods to recover. Fanning begins to exhibit strange, hostile behaviour associated with her imaginary friend, Charlie. Then, as the violence escalates, De Niro realizes that Charlie might well be real after all.
Posted in: Disc Reviews by Archive Authors on June 2nd, 2005
Man on Fire is a stylish thriller with excellent performances at the heart. Denzel Washington plays Creasey, an ex CIA/assassin who is too tired of the killing. Now out of the game, Creasey sticks to drinking in Mexico City. Enter Rayburn, an old buddy (played by the wonderful Christopher Walken). He has a potential job for the down and out Creasey. A string of abductions and kidnappings in the city (Mexico City is the real life kidnap capital of the world) forces a young industrialist (Marc Anthony)and h...s wife (Radha Mitchell)to hire Creasy as a bodyguard for their 10 year old daughter Pita (played by Dakota Fanning). Well...let's just say...the bodyguarding doesn't go too well. And Creasey needs to find Pita before it's too late.
Man on Fire is directed by Tony Scott. Scott is a stylist, and the movie definitely has stylistic excess. But this is the man who invented stylistic excess with Top Gun. But Scott is more successful when he has great actors to inhabit his stylish canvas, True Romance and Crimson Tide are great examples. Scott has become more "modern" with his use of jump cuts and freaky camera angles. It's a dizzying experience, but thankfully this over the top effort is fleshed out by the excellent performances of Denzel and Dakota Fanning (she will be a star one day). The movie is way too long (2 and a half hours for a genre thriller??). But the peformances and the script (by Mystic River's Brian Helgeland) hold Scott's over direction in check.
Posted in: Disc Reviews by David Annandale on May 31st, 2005
Synopsis
Posted in: Disc Reviews by David Annandale on May 30th, 2005
Synopsis
Posted in: Disc Reviews by Archive Authors on May 29th, 2005
Guilt’s a bitch. It can drive you down the road to insanity, and turn your life upside-down. The Machinist is an interesting story that leaves you guessing right until the end. The story moves a little slow, but the performances are impressive and the cumulative tale is well done. Watching Christian Bale portray lead character Trevor Reznik is both impressive and disturbing. Bale looks like a shell of himself; shedding an astounding 63 pounds to play this role. Bale is so thin that you can see every rib ...nd every vertebra of his spine. Comparing his appearance in this film to his role in American Psycho will blow you away.
The story of The Machinist centers around the progressively dwindling life of Trevor Reznik (Bale). Resnik is an insomniac who claims to have not slept in a full year. He works in a machine shop, has a hooker that he regulars, and nightly visits the same waitress at an airport-based coffee shop. Everyday brings with it a new paranoia. When he mysteriously finds a “hangman” sticky-note on his refrigerator, Resnik starts a journey to discover who is playing this sick game with him, or if it is just his sleep-starved mind playing tricks on him. A hallucination of a mysterious co-worker causing a workplace accident drives Resnik to evaluate everyone around him. The more he digs, the more crazy everything seems… it is real, or is it all in his head?
Posted in: Disc Reviews by David Annandale on May 28th, 2005
Synopsis
Posted in: Disc Reviews by Archive Authors on May 27th, 2005
Fascination is a potboiler without a pot. It loosely follows the plot of Hamlet. Adam Garcia plays Scott Doherty, a spoiled young artiste who sulks more than Anakin Skywalker. Scott's father dies (played by James Naughton) under mysterious circumstances, and his wife (played by the "still a hotty" Jacqueline Bisset") returns from a cruise with a new beau (Stuart Wilson). Scott smells something fishy, and with the help of a new stepsister/lover (Alice Evans), he tries to get to the bottom of this crime. So...nds fascinating? Not really.
Everything about Fascination is not fascinating. It's only interesting in the sense of how much worse can it get! For a thriller, it moves like molasses. For eroticism, it's more awkward than sexy. As far as underwater sex scenes go, I'll take the one in Showgirls any day. The performances aren't the saving grace either. Garcia is one note, Bisset tries her bisset, and Alice Evans deserves an award for one of the strangest performances I've ever seen. You can watch the film in a director's cut or a theatrical cut. The director's cut is a bit shorter, so I might go for that one.
Posted in: Disc Reviews by Gino Sassani on May 24th, 2005
White Noise borrows much from the successful cycle of modern horror films. There is a tremendous likeness to both The Ring and FearDotCom. The use of a television screen for eerie f/x and a few shocks reminds us of the former, while the torture of the kidnapped victim in industrial and dank surroundings is taken right out of the latter. White Noise has some wonderfully disturbing moments. The atmosphere is rank with just enough possibility to be truly scary at times. Michael Keaton adds that element of respectability and believability which carries a weak script much farther than it deserves. I should also point out that the cinematography is simply brilliant. Transitions are masterfully crafted into a stunning visual experience. I expected this film to disappoint and it did; however, it was not quite the disaster I was anticipating.
The idea of EVP, Electronic Voice Phenomenon, has been around since about the 1970’s. The film’s use of the television is a new fictional wrinkle that obviously makes for more compelling drama. White Noise quickly leaves the arena of the EVP world and enters a mythos of its very own. It is this diversion that creates the biggest problems I have with the film. It seems Keaton sees not only dead folks but those soon to be dead. We are never given any explanation as to how this new development occurs. Normally that’s not a problem, but the film appears to go to great lengths to make sure we understand the principles of EVP, then fails us once the story ventures into new ground. The ending is a completely unsatisfying. I don’t need to be told everything, but would like to have more answers than questions when the credits roll. It seems three really bad dead guys are pissed off, but we never find out who they are or why they’re so angry.
