DVD Review: Stuck - Film's Title Ironically Addresses Director Stuart Gordon's Once Promising Career

"Stuck is a horrifying film. But I don't know if I would say it's a horror film, because it has really nothing to do with the supernatural. It's really about people, and what people will do to each other, which can sometimes be much more terrifying than anything vampires or werewolves might be up to." - director Stuart Gordon in a featurette included on the DVD Stuart Gordon's latest, Stuck, was recently released on DVD and Blu-Ray. It is inspired by the true story of a young health-care worker who hit a homeless man with her car and parked the car in her garage with the man still lodged in her window, where he slowly bled to death days later. The film represents Gordon's best chance at branching out past the horror genre. But instead of outgrowing his conventional take on stories like this, Gordon decides to stick to familiar ground. Brandi Boski (Mena Suvari) works at a nursing home, as we find out from the clever and amusing opening credits, a slow motion overview of Brandi passing out pills to her elderly patients while a rap song plays over the scene. Her tight, cornrowed hair telegraphs her white trash existence. And in fact, she is overjoyed to hear she is being considered for a promotion that may help her leave filthy octogenarians' diapers behind. So she celebrates that night in her usual way, popping a complimentary hit of E from her dealer boyfriend, Rashid (Russell Hornsby), at the local club while getting a little buzzed on alcohol. Getting behind the wheel in her state may not be a good idea, but she decides to anyway, heading home to meet her boyfriend for a night of drug-and-alcohol-fueled sex. Tom Bardo (Stephen Rea), a recently laid-off project manager, hasn't had much luck finding a job, and now loses his apartment as a result. Bureaucratic dead ends he faces at the unemployment office gradually reveal the passive nature of the man. He is not strong-willed or clever enough to get people to break out of their routine to help him in his job search. So he ends up on the street, a broken man, absorbed in his own self-pity. The paths of our dual protagonists literally collide when Boski hits Bardo driving home from the club. Bardo gets stuck in the windshield, bleeding and semi-conscious. Boski, showing little remorse, is so obsessed with making sure nothing gets in the way of her promotion, she decides to cover-up the incident, stowing the car, and Bardo, in her garage. Her lack of conscience is further illustrated by her subsequent action, having sex with Rashid in her home while Bardo bleeds to death just outside. Had the film's narrative followed the true life story, we could have had a perverse Cronenberg-like take on the dichotomous existence led by Boski after the accident. The real nurse let the man bleed to death, and then, scarily, went to work as a caregiver every day. She would have gotten away with the death had she not brought up the accident while joking with friends. If the movie hewed closely to this account, we could have seen the gradual disintegration of a person's good judgement and conscience in a coolly detached way, while cutting away to the homeless man, the creeping hopelessness of being saved slowly engulfing him. This could have been a significant turn in the career of horror master, Gordon (Re-Animator), who is better known for his unsubtle attraction to B-movie-type gore. But, at this point, the film departs from the real-life event. It instead makes Bardo more of a traditional hero, desperately trying to save himself, actively working his way out of his predicament. Gordon falls prey to his own predilection for blood, basking in the gooey excess brought about by Bardo's attempts to escape. When we arrive at the film's climax, it's a full-out gore extravaganza, with the half-dead Bardo battling a crazed Boski in her garage, with another dead body nearby, while surrounded by flames. Stuck, a film that looked like his last best chance to transcend the genre-bound conventions he often employs, is not bad. It's just disappointing because of how much more it could have been. The film's title ironically addresses the state of director Gordon's once subversive and promising career. This entry first appeared on Blogcritics on 10/30/2008.

Movie Review: The Wrestler - An Ode to Mickey Rourke

Mickey Rourke triumphantly returns to the screen in the best role he's played since... Marv in Sin City (2005)? Well, that wasn't so long ago. Yet it seems that every time Rourke continues to impress us with a tour-de-force performance, as he does in Darren Aronofsky's The Wrestler, he is hailed as the "Comeback Kid," when in fact, he's never gone anywhere. One look at his filmography confirms this, as he has had at least one film, if not more, released every year since his debut in 1979, except for the years 1993 and 2007. True, they frequently aren't movies you would see in the year-end top ten lists. But like Marlon Brando, the quirky and mumbling Rourke is a performer that never fails to fascinate in any number of variations on the tough guy persona he usually imbues with the soul of a child. In The Wrestler, he plays fading superstar Randy "The Ram" Robinson, a veteran of the sport that though filled with showboat antics, may actually be more punishing than similar gladiatorial displays out there. Robinson moves through his humble life, struggling to collect his cut of the gate; having trouble making ends meet; and deluding himself into thinking he is actually connecting with a stripper, Cassidy (Marisa Tomei), which he frequents. Oblivious to the destructive toll the matches take on his aging body, it is only after a particularly brutal rematch with the Ayatollah (Ernest Miller) that he gets a warning sign. Suffering a major heart attack, he is forced to retire, and it is then that we see what few prospects Robinson has. He lives alone in a trailer park. He has no family save for his now grown daughter, Stephanie (Evan Rachel Wood), who won't talk to him. Is it only a matter of time before he has to risk returning to the ring? Aronofsky's skill as a storyteller continues to grow. Gone is the film-school vibe of his first film, π (1998). The visual gimmickry of his overrated Requiem for a Dream (2000) is harnessed to better use here, as in one scene where he crosscuts between Robinson as he prepares for a match, and Cassidy psyching herself up for her next dance. Both self-destructively chase down the money no matter what the physical or psychological cost to each. The Wrestler expands on the promise the director displayed in the misunderstood The Fountain (2006). Like in that film, Robinson risks all to sustain the connection to someone he loves, despite the inevitability of his self-destruction in doing so. But here the emotional core is not lost in the sci-fi pyrotechnics of the earlier film. The Wrestler is a variation on the film noir subgenre, the fight movie, which only serves to underscore the parallels between Robinson and Rourke. A rising star in the eighties, Rourke's bad decisions, like interrupting his career to venture into the world of boxing, interrupted his ascent. Noxious behavior in his personal life, which included arrests for spousal abuse, and a DUI further illustrate his penchant for masochism. His newfound vigor in returning to acting is evident in his portrayal of Robinson's climactic attempt to recapture the glory he once garnered in the ring. Rourke's iconic performance is both powerful and touching. Like Brando, who was always ill at ease with his handsome looks, Rourke has shown signs of the same. The onetime pretty boy now has a face scarred by reconstructive surgeries after the beatings inflicted in boxing. And Robinson's bloodied visage evokes previous roles in which Rourke has taken safe harbor, away from his looks, like Marv in Sin City, or John Sedley in Johnny Handsome (1989). These ugly bruisers both hid a secret child-like soul, the same way Robinson does. In one scene, Robinson's loneliness prompts him to step outside his trailer home, and invite a neighbor kid to play a wrestling game on an outdated Nintendo. When the child loses and politely decides to leave, Robinson is embarrassed that not even a rematch can entice the boy to stay. The Wrestler should go down as one of this actor's landmark roles, but don't call it a comeback. He's always been around, even if we haven't always been looking. Darren Aronofsky will discuss The Wrestler at 1:30 p.m., Saturday, October 11th, at the Stanley H. Kaplan Penthouse, located on the tenth floor of the Samuel B. and David Rose Building, 70 Lincoln Center Plaza, New York, New York, 10023; $16 The Wrestler is the Closing Night film at the 46th New York Film Festival, and is playing at 8:30 p.m. Sunday, October 12th, at the Avery Fisher Hall, 70 Lincoln Center Plaza, New York, New York, 10023; $40 This entry first appeared on Blogcritics on 10/9/2008. Photo Credit: Fox Searchlight / Wild Bunch / Film Society of Lincoln Center

DVD Review: Batman: Gotham Knight - Finest Take Yet on the Dark Knight

by Tony Dayoub



Why someone hadn't thought of this yet is a surprise to me. Available on July 8, Warner Premiere's newest direct-to-DVD release, Batman: Gotham Knight, is an anime-influenced feature that ostensibly bridges the gap between Batman Begins and the yet to be released The Dark Knight. It is reminiscent in tone and design to Warner's earlier tie-in to the Matrix trilogy, The Animatrix. But just as that film proved to be superior than the two Matrix sequels, Gotham Knight is much more than a promotional tie-in.


Written by some of the Batman's most well known storytellers, and directed by some of Japan's most renowned animators, the six segments that comprise the film can be enjoyed separately or taken together. Together, as veteran Batman comic book writer Denny O'Neil points out in the commentary, the stories form a mosaic of different perspectives on Gotham's guardian that inform each other, and are greater than the sum of its parts.

"Have I Got a Story For You" - dir. Shoujirou Nishimi (Akira), writ. Josh Olson (A History of Violence) - In this first segment, three skaters each tell their versions of personal encounters they had with Batman during his fight with the criminal Man in Black. A fourth friend who has never seen Batman (Kevin Conroy, reprising his voice acting from the animated series) is then put in the position of being an active participant in the continuing battle. Reminiscent of other stories, in both comics and cartoons (including animated episode, "Legends of the Dark Knight"), in which outside characters introduce different iterations of the Caped Crusader, it is clear why this one opens the film. It sets the tone for the rest of the film, informing the viewer that each segment will have a different take on Batman. Among the versions seen here, look for the one that resembles a certain Marvel hero tearing up the summer box office.

"Crossfire" - dir. Futoshi Hiashide (Air), writ. Greg Rucka (Gotham Central) - Here we get Batman as seen through the eyes of Gotham Major Case Detective Crispus Allen (Gary Dourdan). Unconvinced of the heroism by what he sees as just a simple vigilante, his partner Anna Ramirez (Ana Ortiz) tries to convince him to the contrary as they deliver the Man in Black to Arkham Asylum. Rucka, who wrote Gotham Central for DC Comics, uses his affinity for Gotham's detectives to show us a more objective view of the crimefighter. His comic characters play a central role here, although Renee Montoya was changed to Anna Ramirez in this film. Apparently, Ramirez ties to a plot point in The Dark Knight that mandated the change. Look for an appearance by another longtime character who'll cameo in the new film, gangster Sal Maroni, and mentions of how the Narrows became Arkham Island after the climactic asylum breakout of the last film.

"Field Test" - dir. Hiroshi Morioka (Tsubasa Chronicle), writ. Jordan Goldberg (associate producer of The Dark Knight) - This one continues the feud between Maroni and rival gangster, The Russian. Bruce Wayne's tech expert, Lucius Fox, provides him with a special suit designed to ward off any dangerous projectiles. When it unwittingly causes another person harm, Batman reconsiders using the technology. Notable primarily for being the closest interpretation to anime in the whole film.

"In Darkness Dwells" - dir. Yasuhiro Aoki (The Animatrix), writ. David Goyer (The Dark Knight) - Goyer follows up on a loose end from his Batman Begins story. After his escape, Jonathan Crane, that film's evil Scarecrow, has taken up residence in the city's sewers, where he controls the monstrous Killer Croc. Batman must save a prominent kidnap victim from certain death, after getting a dose of Scarecrow's fear toxin courtesy of Killer Croc's bite. This segment is most reminiscent of the Darknight Detective's comic stories.

"Working Through Pain" - dir. Toshiyuki Kubooka (Lunar), writ. Brian Azzarello (100 Bullets) - Perhaps the best story of the bunch, Batman, still suffering from his wounds, calls Alfred (David McCallum) to help him out of the sewers. While managing his pain, he remembers training he received in that skill from Cassandra (Parminder Nagra), an outcast in India. The flashbacks to India give the movie scope. Cassandra serves as a great counterpoint to the young brooding Batman-in-training, and a welcome female presence. Look for a sad, and loaded, metaphorical image at the end of this segment that will surely be remembered by Batman fans for years to come.

"Deadshot" - dir. Jong-Sik Nam (He-Man and the Masters of the Universe), writ. Alan Burnett (Batman: The Animated Series) - Straight up action at top speed as we wrap up the movie with marksman/assassin Dead Shot lining up his sights on Lieutenant Gordon. The plot is pretty straightforward, save for a reversal midway through the action on a hurtling elevated train. This one probably has the best animation of the entire movie. Dead Shot's costume redesign is flamboyant, but inspired.

On standard DVD, Gotham Knight includes a great commentary by Kevin Conroy and Dennis O'Neil with Gregory Noveck moderating. It also has a sneak peek at Warner Premiere's upcoming direct-to-DVD feature Wonder Woman starring Keri Russell, Nathan Fillion , and Rosario Dawson. On two-disc standard DVD and Blu-Ray, look for additional extras such as four episodes of the animated series that might inform your viewing of the film, and two documentaries, one on Batman's creator, Bob Kane, and one on his villains.

This entry first appeared on Blogcritics on 7/3/2008.

Still provided courtesy of Warner Home Entertainment.

DVD Review: When the Moors Ruled in Europe - A Welcome Alternate View of the Rich and Proud Islamic Culture

by Tony Dayoub



Hosted by Bettany Hughes, When the Moors Ruled in Europe is a stunningly beautiful and informative documentary that debunks a lot of the myths associated with the Moors' invasion of Europe. In the course of doing that, it also illuminates the rich and advanced Muslim society of the Middle Ages, presenting an alternative view of the Islamic culture that has, unfortunately, become our society's bogeyman post-9/11.

It traces the roots of modern society's misunderstanding of the Muslims to their expansion into Europe. Contrary to popular notions, when they invaded what is now Spain, they were welcomed by many as saviors from the more primitive Visigoths. The Muslims, who valued education highly, quickly established a number of libraries, irrigated the land, and erected architectural wonders that survive to this day (like the Alhambra, pictured above). Over time, cross-cultural pollination softened some of the more orthodox practices of the Muslim conquerors, later known as Moors, and they settled in as benevolent rulers of what were for the most part, an appreciative, newly enlightened people. But the ugly head of religious intolerance reared itself, soon enough.

Catholics slowly started chipping away at the Muslim encroachment during the time of the Inquisition. Driving them first into hiding, then into disavowing their religion, before banishing them from Spain altogether, the Catholics established their dominance over Spain. They solidified their rule over Europe during the reign of Isabella, yet a curious thing happened. The architecture and the technological advancements of the Moors became such an ingrained part of the local tradition that it was assimilated by the re-conquering Catholics.

The two-episode series does a great job of summing up some of the little-known legacy of the Moors' time in Spain. They illustrate, for example, how the architecture of the Alhambra has a seemingly ineffable harmony that is directly related to the very conscious geometrical planning of the building and the relationship with its environs. Hughes speaks to various scholars who dispel long-held myths by giving credible explanations. One example is the reframing of El Cid from heroic Moor-slayer to benevolent and well-loved ruler over a mostly Muslim people. His name is actually derived from the dialectal Arab word "sïdi", or the honorific "sayyid" which means "Lord." Illustrated throughout with cinematography depicting the still-standing architectural achievements of the Moors, the documentary serves as a tempting invitation to visit Spain and experience some of these influential buildings they left behind.

Perhaps the Moors' most long-standing and unspoken legacy is visible on the faces of many Spaniards. The majority of Spain's people still bear the strong genetic features of the invading Moors, a handsome reminder of this culture's once dominant status in pre-Renaissance Europe.

This entry first appeared on Blogcritics on 6/16/2008.

TV Review: At the Death House Door - IFC's Gripping Documentary Tackles the Death Penalty

by Tony Dayoub

At the Death House Door is a solemn inquiry into the execution of Carlos De Luna, seen through the eyes of Pastor Carroll Pickett. De Luna was a Mexican American convicted of murdering gas station attendant Wanda Lopez in 1983 in Corpus Christi, Texas. As has been happening lately in many capital punishment cases, doubt has been cast over whether De Luna was actually guilty of the murder.

Pastor Carroll Pickett counseled the inmates of the "Walls" prison unit in Huntsville, overseeing nearly 100 executions, including the world's first lethal injection. Having lost two upstanding members of his congregation, during a hostage crisis at the prison, he was a strong advocate for the death penalty when he joined the unit. But years of counseling the inmates, getting to know them as human beings, and discovering that victims' families seldom got any sense of closure from the executions, took their toll on Pickett. Alienated and lonely, he confessed his private thoughts into audio cassettes after each execution. By the time he met convict Carlos De Luna, he had begun to oppose the death penalty.

Of all the inmates that claimed their innocence to Pickett, none had struck him as more genuine than De Luna. De Luna's arrest was made with very little evidence, and another convict, Carlos Hernandez, who was a virtual lookalike, even bragged about how De Luna was convicted for someone Hernandez had actually killed. Even a knife resembling Hernandez's distinctive one had been found at the scene. Frustrated at the futility and injustice of the executions, Pickett quit and became a dedicated anti-death penalty activist in Texas, an uphill battle if there ever was one. Texas leads the country in executions, ahead of second-place Virginia by more than 4 to 1 since 1976.

Through the investigation by Steve Mills and Maury Possley, two Chicago Tribune reporters, into De Luna's arrest and its inconsistencies, the filmmakers were led to De Luna's final confidant, Pastor Pickett. Directors Steve James and Peter Gilbert (directors of Hoop Dreams) give us a grim but fascinating look into the tortured soul of Pastor Pickett. Pickett's father, bitter over his own father's murder, was influential in forming the pastor's opinion of the death penalty in his youth. Raised to keep his emotions in constant check, he would record his misgivings after each execution, amassing a collection of 95 tapes over the years. But his daughter recalls the one time anyone in his family saw him weep, screeching as he collapsed to the floor, while his then young daughter helplessly looked on.

Gripping and intense, the documentary gives a fair-minded look at capital punishment, and one man's mission to find a better alternative.

IFC presents At the Death House Door tonight at 9 PM ET.

This entry first appeared on Blogcritics on 5/29/2008.

Movie Review: Sex and the City - The Fab Foursome Set Their Sights on Conquering Post-Single Life

by Tony Dayoub

Denise was excited when I informed her we'd be attending the Atlanta premiere of Sex and the City on Tuesday night. My wife's not one to brag, but I could tell she was eagerly anticipating the movie. Exhibit A: She pulled out all the stops in getting a babysitter. Never had I seen the woman line one up so fast. Exhibit B: She kept asking if we shouldn't get our seats earlier. Exhibit C: A smile spread across her face when she told me how her coworkers were a touch envious, "Tessa said she doesn't want to know anything about the movie when I go back to work tomorrow. She doesn't even want me to make a facial expression." Now I know how she feels when I make comments like, "Can you believe there's only a year left till the new Star Trek movie comes out?"

Then there was the theatergoing experience associated with the film. Not only were there giveaways for such items as facials, manis and pedis, or a night on the town for "you and three of your favorite girlfriends", many a female fan arrived with said girlfriends in tow, dressed a little too fashion forward for a night at the movies, but looking ready to hit the bars and order a round of Cosmos (never mind that they're so 1998). I've seen Trekkies in their Captain Picard outfits at a premiere, the odd Stormtrooper on opening day of a Star Wars flick. I was even taken aback when someone showed up in full Indiana Jones regalia to Crystal Skull's premiere last week. But never did I foresee seeing clusters of otherwise ordinary women decked out so you could easily identify which one was the Miranda of the group, which one was the Carrie, etc. Anyway, out of respect for Tessa, and those women who hold Carrie Bradshaw and her friends' exploits so dear to their heart, I will do my best to review the film without any spoilers.

First of all, I am happy to report that the film survived its jump to the big screen without also jumping the shark. Rumors which I won't directly address here, but you know them if you've heard them, prove to be completely unfounded. The movie hits all the emotional notes that it should 4 years after leaving the TV airwaves, meaning you'll laugh a little, cry a little, but mostly you'll get to revisit what it felt like to curl up on the couch every Sunday night to catch the girls on HBO a few years back. Except they are not girls, anymore. These women have left the fun single life they used to gripe about, and find that post-single life brings a whole new set of challenges.

Miranda (Cynthia Nixon) and Steve (David Eigenberg) hit a big bump in their marriage, which brings her inherent distrust of men back to the forefront of their relationship. Samantha (Kim Cattrall) is now a publicist in L.A. with just one client, her beloved Smith (Jason Lewis), and she wonders when she stopped living for herself and her life started revolving around just one man. Carrie (Sarah Jessica Parker) is busy preparing for her whirlwind nuptials to "Big" (Chris Noth). And Charlotte (Kristin Davis) is wondering if her life with Harry (Evan Handler), and adopted daughter, Lily, can stay this happy while her friends' lives seem to be hitting major obstacles.

Writer-Director Michael Patrick King, responsible for some of Sex and the City's best storylines, does an excellent job of balancing the women's individual stories throughout the film. With a lengthier running time (about 135 minutes) than usual for a romantic comedy, the film never feels sluggish. If anything, we are so happy to see the characters, and engaged by their easy chemistry, that we wish the movie were longer.

Sarah Jessica Parker is her usual winning and witty self, and Carrie and Big's plot gets the most screen time, of course. But Miranda, easily the most interesting of Carrie's friends, is well served by her involving subplot as well. Cynthia Nixon is charming in her most neurotic portrayal of Miranda yet. Kim Cattrall is still the sexiest, despite her being the most mature (look up her age, I'm not telling you). Of the four, Kristin Davis gets the spotlight for the briefest amount of time, but her character steals the biggest laugh in the whole movie.

With cameos by four other series characters, and an assist from Jennifer Hudson (who manages to fit right in, thank you very much), as Carrie's new assistant, the movie hits its target audience right on the bullseye. And maybe more, as I saw plenty of husbands and boyfriends that were dragged to the movie having a surprisingly good time.

It will be interesting to see, this weekend, if this movie will be the first blockbuster carried to that status level by female fans.

Sex and the City opens on Friday, May 30th, in theaters nationwide.

This entry first appeared on Blogcritics on 5/28/2008.

DVD Review: Indiana Jones - Keeping up with the Joneses on DVD

by Tony Dayoub

Indiana Jones and the Kingdom of the Crystal Skull is one of the most anticipated sequels of the summer movie season. For the curious, it is because they want to know whether director Steven Spielberg and producer George Lucas can recapture the "lightning in a bottle" that made the original trilogy so popular. For fans of Harrison Ford, it is because they hope that a return to his most popular character will jump-start his sagging career. For me, it is a chance to relive the thrill of going to a movie with my family that they are all eager and excited about going to see at the multiplex.

My dad, who is an infamously impatient man when it comes to sitting still and watching a movie, was a huge fan of Raiders of the Lost Ark. So much so, that he took us to see it countless times. In fact, we saw it in Miami at the Lincoln Theater (now home of the New World Symphony), on a double bill with Robert Altman's Popeye, back when theater ushers carrying flashlights would personally seat you, and even allow you to stay for a repeat performance of the film at no extra charge. So we of course, saw Raiders, then Popeye, then Raiders again. My dad called me last week to make sure we leave some room to catch the new flick when I visit them in Miami this summer.

This weekend my new family, wife and son (with another on the way), had ourselves an Indy viewing party, and I've got a short buying guide to help you navigate through the various Indiana Jones DVDs currently available.

Indiana Jones: The Adventure Collection - Just released this week, this box set contains special editions of Raiders of the Lost Ark, Indiana Jones and the Temple of Doom, and Indiana Jones and the Last Crusade. Each has all-new documentaries directed by famed DVD documentarian Laurent Bouzereau, and all-new introductions by Spielberg and Lucas. The best of these documentaries is "The Indy Trilogy: A Crystal Clear Appreciation", found on the Raiders disc, in which the cast of the latest film is interviewed with regards to their favorite moments in the trilogy. Each film is also available separately on DVD for the first time, for those who aren't fans of all the movies.

The Adventures of Indiana Jones - This set, released in 2003, is for the true Indy fan. It contains all three films, and a fourth disc with over 3 hours of bonus material covering everything from the inception of the character (back when he was Indiana Smith) to audition footage of Tom Selleck as Indy (a role he no doubt laments being forced to give up, as CBS was strictly enforcing his contractual obligations to Magnum, P.I.). It also has in-depth coverage for each sequel. The drawbacks to this set were the unavailability of each film separately at the time of its release, and the fact that it doesn't have any of Bouzereau's new documentary material.

So I guess if you are a rabid Indy fanatic, you'll be forced to buy both sets.

In 1992, ABC broadcast a TV series based on the films, entitled The Young Indiana Jones Chronicles. Each hour-long episode was introduced by a 93 year-old Indy (George Hall... wearing an eye-patch), who would then recount a story of his exploits as a 10-year-old boy (Corey Carrier) or as a young man age 16 to 21 (Sean Patrick Flanery). Spearheaded by Lucas (with no involvement from Spielberg), he had a dual intention with the series. Primarily, he hoped that its more educational tone would inspire teachers to use it as a starting point for class discussions, as Indy would meet many famous figures of the period (1908-1920) in his adventures. Secondarily, as much of the budget was utilized to travel to actual locales around the world, he used the show to experiment with, what were at the time, new CGI effects, the results of which would manifest themselves in the second Star Wars trilogy years later.

The tone of the show was quite different. More Masterpiece Theater than "Republic serial," many fans of the movie were turned off by the often ponderous stories. Also, while Flanery's teenage Indy was charming, the 10-year-old, and 93-year old were not popular. What the show did have going for it, was its wonderful location shooting, its talent behind the camera, its use of young actors who have since gone on to greater fame, and of course, Flanery, which led to the lion's share of the episodes utilizing him. The action was amped up, and Harrison Ford was even brought on board for a rare guest appearance as a 50-year-old Indy introducing one of the adventures. But all to no avail, as the show was cancelled after its second season.

Now available for the first time on DVD as The Adventures of Young Indiana Jones, Lucas, ever the revisionist, has revised the concept yet again. Deleting all of the introductions by Old Indy (except for Ford's), he combines two hour-long episodes to form a movie. While sometimes leading to some unevenness, it is a much more effective presentation. And in keeping with his primary motivation of educating while entertaining, each episode is paired with about 5 to 8 half-hour documentaries that inform viewers of the historical figures and events Indy encounters. These are so interesting I found myself excitedly anticipating the next one more than the actual episode itself.

Volume One: The Early Years - This one covers Indy's adventures from 1908, when he tours the world with his parents, to 1916, when he runs away from home to join the Belgian army during the early days of World War I. He meets Picasso, Puccini, Freud, and Pancho Villa. While the earlier bunch of episodes starring the young Carrier can be tedious, they are greatly aided by deft direction from folks like Mike Newell (Donnie Brasco) and Bille August (Pelle the Conqueror). Once Flanery comes into the picture, the series really takes off. Look for guest appearances from, Max Von Sydow, Vanessa Redgrave, and a young Elizabeth Hurley.

Volume Two: The War Years - By far, the best of the three volumes, this covers Indy's sobering experiences in the war with no small amount of poignancy. And why shouldn't this one be the best? With talent like Frank Darabont (Shawshank Redemption), Carrie Fisher (Postcards from the Edge), Nicolas Roeg (Don't Look Now), and Simon Wincer (Lonesome Dove) behind the camera, and guest appearances by Catherine Zeta-Jones and Daniel Craig, this volume is the highlight of the show.

Volume Three: The Years of Change - Still better than the first, but a shade less interesting than the second volume, as Indy returns to America. He meets some famous folks while attending the University of Chicago, like Eliot Ness, and Ernest Hemingway, before heading to Hollywood to become a... stuntman!? Guest stars in this one include Harrison Ford, Anne Heche, and Jeffrey Wright.

These three volumes of Young Indy's adventures are a wonderful introduction to the character geared towards younger fans. And if you stick around to watch, you might learn something, too.

Still provided courtesy of Paramount Home Entertainment.

This entry first appeared on Blogcritics on 5/14/2008.

Tribeca Film Festival 5/3: Speed Racer World Premiere

by Tony Dayoub

5:53 pm - Speed Racer, the new film directed by the Wachowski Brothers, had its world premiere this past Saturday at the Tribeca Film Festival. Among the stars arriving via the red carpet were Robert De Niro, co-founder of the festival, and Limp Bizkit front man Fred Durst. Also in attendance were the film's producer, Joel Silver, and most of the cast, including Christina Ricci (Trixie), Susan Sarandon (Mom), Christian Oliver (Snake Oiler), and Paulie Litt (Spritle).

Also there, John Goodman, who plays Speed's dad, Pops, and is a fan of the original show, said "[The cartoon] was different from anything that was on before." When asked if he would appear in the Wachowskis' next film, he responded, "They're great. Andy gives me all kinds of great fiction to read. We're kind of tuned into the same stuff. I hope so."

Peter Fernandez voiced Speed Racer on the American version of the Japanese import, but now plays a race announcer in the new summer movie. Primarily a voice actor, he hadn't appeared in front of the camera in some time, joking, "I make a feature film every 60 years."

Kick Gurry, who plays Sparky, Speed's mechanic, spoke of the difficulty with working on a film with no actual props. "John [Goodman's] character has to design the cars, and I have to fix them. We'd always laugh, because we actually had absolutely no idea what the hell the cars were made of, or what they were doing. In fact, most of the time, there wasn't even a car sitting there. It was all computer generated."

Lead actor Emile Hirsch, echoed the sentiment, "You really have to put your imagination to work."

8:34 pm - In the movie, Speed Racer, potentially the greatest auto racer of all time, refuses to break the records set by his late brother and idol, Rex. Sought by industrialist Royalton (played with evil relish by Roger Allam) to join his race team, he refuses to betray his father, who wisely sees the depth of Royalton's corruption. But when that leads to Speed being blacklisted in the racing community, he must join the masked Racer X (Matthew Fox) to bring the villainous businessman down.

Fox deepens his voice a notch to play the mysterious Racer X. X is much more charismatic than his more famous role, the tiresome Jack in the TV hit, Lost. Clever, agile, and clad in a cool suit of black leather, I'd be very surprised if Racer X doesn't get his own movie spin-off, as he is arguably more popular than Speed.

Exciting and fast-paced, Speed Racer can be hard to keep up with if you're not tuned in. Approaching the film as if it were animated, the Wachowski's take advantage of the flexibility the medium affords in telling a story. They use wipes to transition from shot to shot rather than cuts. Foreground and background are always in focus simultaneously, as in most animated fare. Awash in brilliant colors and effects meant to duplicate some of the conventions of Japanese anime, it might lose some older folks, but kids and the young at heart should have no problem keeping up.

11:17pm - Took the train up to the Village with my friend, J.C. Alvarez, to get dinner at the Waverly Inn and Garden (16 Bank St., New York, NY, 10014, 212-243-7900). The Waverly is a bustling, hip restaurant owned by Graydon Carter, editor of Vanity Fair. There's always a few celebrity sightings, and this night was no different. Sitting in the back of the restaurant when we arrived was Ron Perlman of Hellboy fame, and Miami Steve of the E Street Band, aka Silvio Dante of The Sopranos, Steven Van Zandt.

And the food? It was delicious, I started off with a Tuna Tartare, with avocado and dijon emulsion, that was perfect both in taste and presentation. That was followed with the Brook Trout on Cedar plank with roasted carrots, which were appropriately toasty and savory. For dessert, an awesome warm Bananas Foster served with a scoop of ice cream. J.C. enjoyed the Amish Free-Range chicken followed by a warm apple crisp, also served with ice cream.

The service was excellent, as we were well taken care of by five different waiters on a crowded Saturday night, with no one dropping the ball even once.

This was the perfect way to end my time at Tribeca, before heading home to Miami the next day.

A slightly modified version of this entry first appeared on Blogcritics on 5/5/2008.

Still provided courtesy of Warner Bros. Pictures.

DVD Review: Eyes Wide Shut - Revisiting Kubrick's Last Film Nine Years Later

by Tony Dayoub

Nine years after Stanley Kubrick left us with his final film, Eyes Wide Shut, I am surprised by my view on it. Where most of Kubrick's films are hard to appreciate upon their initial release, this one wasn't, at least for me. A decade later, the esteem lavished on any of his films usually grows. But, in my opinion, this one's hasn't. As anyone familiar with Kubrick's work knows, his films were (and still are) more often ahead, not behind the times, in their themes and state of the art of cinema. And while I initially blamed the publicity angle used to promote it, and the censorship inflicted on it, for most of its denigration, I now wonder why almost a decade later, with those problems now non-existent, the film seems out-of-step.

The VHS age had arrived in the mid to late eighties, so by the time the nineties were just about over, it was no surprise that the erotic film genre had benefited the most during that period. Americans no longer needed to be ashamed of enjoying sexually-charged cinema. They could just rent a movie and watch it at home. That movie came in many forms depending on your proclivities. The most obvious was pornography, but if you were too timid to try that out, you could rent a direct-to-video softcore film such as the ones seen on late-night Cinemax channels. For more intellectual value you could obtain an NC17-rated film, like Henry and June. More mainstream viewers could rent a movie that used to be rated R in theaters, but would have added sex scenes in a newly released unrated version, like Basic Instinct. The possibilities were limitless, and the market followed suit to a degree where it became oversaturated with such films: Wild Orchid, Showgirls, Zandalee, etc.

Back in 1999, as the hype was building regarding Stanley Kubrick's collaboration with then-husband-and-wife Tom Cruise and Nicole Kidman, Eyes Wide Shut's marketing contributed to all kinds of notions being thrown around, some correct and some not. The ultimate gladiator film is Spartacus, a Kubrick film. The ultimate sci-fi film is 2001: A Space Odyssey, a Kubrick film. As we go forward it becomes a little more arguable. The ultimate horror movie is regarded by many to be Kubrick's The Shining. And Full Metal Jacket has just as much right to be regarded as the ultimate Vietnam movie as Platoon. So when the trailer is released for Kubrick's latest film, and it features the hottest celebrity couple in the planet nude in front of a mirror, about to engage in lovemaking... was it any surprise that people were going to misconstrue this as Kubrick's take on the erotic film. Rumors circulated. Cruise and Kidman's relationship was straining under Kubrick's pressure to make Eyes Wide Shut the ultimate sex movie. The scenes were so pornographic the movie would have to be gutted to make it work for American cinema.

At the time, having already been a student of Kubrick's films, I wasn't surprised at the final result. Eyes Wide Shut is essentially a detached examination of jealousy and the dangers inherent in giving in to your sexual impulses in modern society. It is examined through the eyes of an upper-class WASP couple, Dr. Bill Harford (Cruise) and his wife, Alice (Kidman). Her name is a clue that much of the movie takes place in a languid dreamlike wonderland after Dr. Bill falls through the jealousy rabbit-hole. The world is one in which Dr. Bill can ask for a beer at a bar, and doesn't have to specify the brand. He can show his medical license and get instant access to some of the most exclusive information. Dr. Bill learns valuable lessons as he is repeatedly confronted with moral tests in this realm: Don't get involved with your patients (Marie Richardson) or you might end up with an unstable stalker. Don't have sex with a hooker (Vinessa Shaw) or you might fall prey to AIDS. Don't get involved with a minor (Leelee Sobieski) or you might be taken advantage of by her pimp (Rade Serbedzija). Don't visit a strange ritualistic costume party or you endanger the life of a call girl (Julienne Davis) trying to save your life.

In the theatrical release, there was plenty of nudity, not much sex, and the sex that did appear in the film was conveniently blocked by digital images of onlookers to preserve the story and allow the film to play in American theaters. The music in the film is beautiful and foreboding. The cinematography is impeccable. Sydney Pollack's performance as Dr. Bill's friend, Victor, is exemplary, especially considering the film was originally shot with Harvey Keitel in the role, before being replaced after he couldn't return for reshoots. And Nicole Kidman is stunning as the coy Alice who, consciously or not, uses jealousy to manipulate her husband.

The DVD has been improved by the fact that it is the first release of the film in widescreen. The images are presented beautifully as Kubrick intended. The DVD does contain a few interesting documentaries on Kubrick, and how this was to be his final film. You gain great insight into the family man he was. And theirs an interesting survey of his unproduced film ideas. Interviews with Cruise, Kidman, and Steven Spielberg are holdovers from the last DVD version of the film. While reverential, these interviews do capture the filmmaker's sensibility.

Most importantly, nine years later, the DVD allows for a fresh viewing. There is no marketing to mislead one into thinking this is a sex romp. The digital images used to censor the film have been eliminated to display Kubrick's intended shots. And the film now seems almost quaint. The lesson that Dr. Bill learns that marriage may be less exciting but at least it is safe, seems trite. The sexual peccadilloes he gets involved in seem naive, especially considering the setpieces are being proposed by a reclusive, happily-married, and elderly film director who lives on an estate in England.

What was once one of the film's selling points has now become one of its liabilities. Tom Cruise's performance seems flat and false. His line readings feel fake. Much of this may be attributed to the backlash he is now contending with in his career and personal life. It is hard to accept the couple in the film will work things out when we know that in life they broke up. The image of Cruise as a doctor is ironic given his outlandish medical claims in regards to the pitfalls of pharmaceuticals and psychological treatment he has discussed in the press recently.

This film should be revisited in the future to see if this assessment of Cruise still holds up if the spotlight on the actor's personal life ever dims.

This entry first appeared on Blogcritics on 4/23/2008.

DVD Review: There Will Be Blood - From Altman to Malick: The Naturalist Influence on Anderson's Film

by Tony Dayoub


There Will Be Blood is the best film of 2007. It is a character study focusing on Daniel Plainview, played by Daniel Day-Lewis in a performance that fiercely crystallizes the epic vision of the movie's director. Paul Thomas Anderson has given us some noteworthy films already, like Boogie Nights (1997), and Magnolia (1999). His films' ensemble casts inevitably led to comparisons with Robert Altman (M*A*S*H, Nashville), another director known for working with large casts. And in fact, the reason we haven't seen a film from Anderson since 2003's Punch-Drunk Love is because he was serving as back-up director for Altman's last film A Prairie Home Companion, as Altman's health was already failing. With an eye towards one of Altman's more intimate films, Blood is distinctly influenced by other great directors.

The film opens over a vast desolate landscape, seemingly silent. But Jonny Greenwood's score rises to an almost deafening pitch in a piece inspired by the composer György Ligeti's work. Ligeti is best known for music that appears in Stanley Kubrick's films, 2001: A Space Odyssey, and The Shining. Here we get a sense of what this film will be about, because just as this music is used to evoke a certain alienation of Kubrick's protagonist from the world he finds himself in, Blood's Plainview is also an outsider, a misanthrope. It is his ambition to build an impregnable wall around himself that drives him to seek oil in this wasteland.

As the opening sequence continues, Plainview, in a moment of weakness, takes in a boy orphaned by the death of his father, one of Plainview's oil riggers. He names him H.W., and conspiratorially makes him an accomplice in pursuit of his goal. His relationship is where we see him at his most vulnerable. They are led to Little Boston, a poor community, where they were tipped off by Paul Sunday (Paul Dano) that there is oil to be had. Plainview convinces the community to sell him their land, and in return he'll employ the lot of them in helping him fulfill his vision. These scenes are reminiscent of Altman's McCabe and Mrs. Miller. That film's McCabe (Warren Beatty) mysteriously comes to the old mining community of Presbyterian Church where he has dreams of getting rich opening a brothel to serve the miners. Like McCabe, Plainview must appease the community [in the person of Eli Sunday (Dano again), Paul's twin brother] by promising to build a church.

In Blood, however, the schism between capitalism and religion is given a much more central focus. Plainview's greed may be a sign of his corruption, but he hardly hides it. He despises the hypocrisy he gleans from Eli Sunday's sermons, and is disgusted by Sunday's attempt to use faith to disguise his own ambitions. A disastrous explosion of an oil derrick comes at a crucial turning point in the story. The effect of the pillar of oil-fueled fire, and Anderson's attempt to confine the film's lighting to the natural light of the blaze, recalls Terrence Malick's Days of Heaven. In that film's key turning point, when sharecroppers try to smoke out locusts that biblically descend on a farm, it also catches fire. Malick chose to use the eerie light of the flames to emphasize the supernatural quality of this moment. Anderson's burning oil derrick spotlights Plainview's naked greed as the flames shoot into the night.

As Plainview grows old and achieves his goal of retreat from the human race, he becomes a Howard Hughes-type figure. Hermit-like, he never leaves his mansion, and becomes estranged even from H.W. But curiously, as he descends into this madness, the shots become more formal, and symmetrical. The wide-angle shots in his mansion remind me of Kubrick's depiction of The Shining's Overlook Hotel; vast, isolated, yet allowing us to detachedly observe Jack Torrance (Jack Nicholson) from a safe distance.

Anderson successfully stirs the pot with this soup he concocted to come up with one of the most unique and satisfying movies in the last ten years. Run don't walk to get the DVD, out today on single and 2-disc standard DVD.

Still provided courtesy of Paramount Home Entertainment.

This entry first appeared on Blogcritics on 4/7/2008.

DVD Review: Lost Highway - David Lynch's Disturbing Film Finally Makes It to DVD

by Tony Dayoub


Lost Highway, one of my favorite David Lynch films, has just been released on DVD for the first time since its theatrical release 11 years ago. It was the last of his films that was left to be released on DVD. This effort is one of his weirder ones, but I love it because of how revelatory it is of Lynch, the artist.

DVD Review: Battlestar Galactica - Season Three - The Best Drama on TV Takes Care of "Unfinished Business"

by Tony Dayoub



In the 2nd season finale of Battlestar Galactica, the humans had finally outrun their Cylon pursuers. The remains of the human race found a habitable world, which they called New Caprica (after their now-dead homeworld), on which to settle. The story then took a leap forward of approximately one year. Most of the humans had moved to the new planet, leaving the battlestars, Galactica and Pegasus, circling high above, with skeleton crews, in case the Cylons returned. Return they did, but not with violence as expected. Instead, they preached coexistence. But our crew knew that this was really a Cylon occupation that would control almost the entire human race. The crews on the undermanned battlestars knew they must retreat. And on the planet below, in the final moments of the finale, a resistance was born.

Movie Review: Horton Hears a Who - My First Venture to the Cineplex with my Son

by Tony Dayoub



My wife thought Jake was still too young to go see his first movie at a theater. He'd get restless. He'd cry too loudly. How would others be able to enjoy their time at the theaters while this "terrible two"-er ran around wreaking havoc? Not to mention, what kind of enjoyment could we derive from it if we're too busy changing diapers, or shushing him to enjoy the movie? I was determined to introduce him to one. I wanted to start our father-son bonding over my love of films soon. But it would have to be the perfect one. One both of us could enjoy. Based on the Dr. Seuss book of the same name, Horton Hears a Who seemed to fit the bill.

Movie Review: Puffball: The Devil's Eyeball - Reflecting on Roeg

by Tony Dayoub

Whatever happened to Nicolas Roeg? Wait a second... who IS Nicolas Roeg? That is the unfortunate response I would get today, as the once promising British director has faded into obscurity to all but the most avid cinephile. His latest film, Puffball: The Devil's Eyeball, is languishing in the On Demand sector rather than getting major distribution in theaters or even on DVD.

So who is Nicolas Roeg? A promising camera operator and cinematographer on such classics as Lawrence of Arabia, Doctor Zhivago, and Fahrenheit 451, he quickly made the transition to director. With Performance (1970), he was called upon to co-direct with the movie's writer Donald Cammell. This film is the first to feature his now oft-imitated non-linear techniques in storytelling. Though the movie faced some controversy due to its explicit sexuality (a recurring issue in Roeg's career), it propelled him to early success.