The Internet Movie Database lists five theatrical features with this title that have been made since 1982, four of them since 1996, at least three of which have made it to Chicago. Michael Winterbottom, an English director so versatile (Welcome to Sarajevo, Jude, Butterfly Kiss) that he seems anonymous, directed this one, based on a Laurence Coriat script that follows the initially disconnected lives of a mother (Kika Markham) and her four children (Enzo Cilenti, Shirley Henderson, Gina McKee, and Molly Parker) over a London weekend. As an interweave of crosscut miniplots, this isn’t nearly as interesting or as pleasurable as Jeremy Podeswa’s recent The Five Senses, but fans of English kitchen-sink realism at its most depressing may relish the opportunities given the cast memberswho also include Jack Shepherd, Peter Marfleet, Ian Hart, Stuart Townsend, and John Simmto strut their stuff. 108 min. (JR) Read more
Leonard Maltin (or one of his movie-guide staffers) finds this Edward D. Wood Jr. thriller about crime and plastic surgery (1954, 70 min.) less inept and therefore less funny than his better-known features. If memory serves, it has Wood’s inimitable clunky dialogue, but his visuals are too pedestrian to be recognizable, unless you count actors like Timothy Farrell, Dolores Fuller, Lyle Talbot, and Steve Reeves (the latter two playing cops). If you’re looking for a bad movie, there’s plenty to choose from — some of them first-run. (JR) Read more
This 1999 documentary by Gough Lewis (pronounced guff?), which seems to be showing across the globe more for its exploitation value than any other merits, is vacuous filmmaking of a very familiar kind. It deals with University of Southern California gender studies major Grace Quekbetter known as porn star Annabel Chongwho decided to have sex with 251 men over ten hours, apparently in order to prove that women can be deranged show-offs just like guys. She didn’t receive any money for doing this and didn’t contract AIDS, but the film isn’t very clear about what’s supposed to make her interesting or exemplary or pathetic or noble or some combination thereof. Like so many undernourished features nowadays, fiction and nonfiction alike, it proceeds from the principle that if you shoot a lot of varied and seemingly contradictory material and then cut it all together, the truth will somehow emerge from the colliding sound bites. Maybe it did in this case, but if so I was too bored and alienated to notice. The material includes Quek/Chong happily and cheerfully defending her activities in feminist terms, desperately cutting her arm with a knife, visiting her family in Singapore (who don’t know she’s a porn star), sitting on the toilet, and quittingand then returning tothe porn industry; Lewis also presents men in the industry saying and doing various things, most of them fairly doltish but not especially funny. Read more
A bewildering blend of self-promotion, ridicule, hagiography, camp, and character study (2000), put together with blotchy video dubs as if producer-directors Fenton Bailey and Randy Barbato couldn’t tell the difference between these contradictory approaches. Jim Bakker and Jerry Falwell remain relatively shadowy and mysterious figures in the story insofar as they’re defined only in relation to the colorful title heroinewhose various adventures are introduced by puppets reciting chapter headings with mulish regularitywhich ultimately means that this made-for-cable opus, halfway between documentary and docudrama, is willing to try anything and everything except for a consistent relationship to its material. RuPaul Charles intones the narration, and we learn a lot about eye makeup. 79 min. (JR) Read more
Evoking without matching such early provocations as Desperate Living, John Waters, triumphantly remaining (as always) in Baltimore, pays tribute to his origins as an independent rebel. By recounting how a bitchy Hollywood diva (Melanie Griffith) comes into her own after being kidnapped by the title director (Stephen Dorff) and his gang of terrorist misfits and ordered to star in their outlaw opus, he makes an obvious reference to Patty Hearst, who’s around for a cameo. Funnier than Pecker but a far cry from the best of Waters’s Divine movies (i.e., Female Trouble and Hairspray), this substitutes a string of escalating outrages for a plot that goes anywhere. There’s an overall thinness despite a lot of good-natured fun. With Alicia Witt, Adrian Grenier, Larry Gilliard Jr., and Maggie Gyllenhaal. 88 min. (JR) Read more
Paul Verhoeven’s well-paced and watchable action thriller, about a scientist (Kevin Bacon) working for the Pentagon who makes himself invisible, is less of a social satire than his other recent features (Basic Instinct, Showgirls, Starship Troopers)despite the glancing suggestion in Andrew W. Marlowe’s screenplay that the scientist’s ugly mischief with his discovery is nothing compared to what the Pentagon’s might be. In fact, this is an old-fashioned exercise in horror-suspense, with first-rate special effects and, as is usual with Verhoeven, an attractive and stylish mise en scene that verges on hyperrealism in its clarity of line. Even when the film reverts to formula, which is fairly often, it does so with polish. It’s also recognizably Verhoevenian in its graceful storytelling (apart from a few holes in the central premise), its appreciation of strong-willed women (top honors to Elisabeth Shue and Kim Dickens) and erotic power struggles, and its dark humor about adolescent males (Bacon is an absolute creep from the beginning). It’s also, like his other films, the work of a macabre moralist who’s fascinated by the shape of our worst impulses, though it’s not terribly interesting on the subject this time around. With Josh Brolin, Greg Grunberg, Joey Slotnick, Mary Randle, and William Devane. Read more
Another piece of phony uplift from producer Jerry Bruckheimer, who brought us Flashdance, Beverly Hills Cop, Top Gun, and, more recently, Armageddon and Gone in Sixty Seconds. This onea sort of Flashdance/Urban Cowboy concoction with a dash of Cocktailclearly doesn’t believe its own jive for a second. It’s about a songwriter (Piper Perabo) from New Jersey who comes to the big city and winds up shaking her ass at a raucous country-western bar, meanwhile dating an Australian dishwasher (Adam Garcia) and trying to convince her widower father (John Goodman, trying hard to be sincere) that he shouldn’t feel ashamed about her job. David McNally directed a script by Gina Wendkos. 100 min. (JR) Read more
Canadian writer-director Jeremy Podeswa’s watchable and sensitive first feature, Eclipse (1994), was one of those narrative daisy chains in the manner of La ronde. This one’s another, and in some respects it’s even better, not only more ambitious (as in the various ways the five senses are worked into the crisscrossing story lines) but more nuanced. The main characters include a widowed massage therapist (Gabrielle Rose), a cake baker (Mary-Louise Parker) who can’t speak the same language as her Italian lover (Marco Leonardi), a couple of sexually transgressive teenagers (Nadia Litz and Brendan Fletcher), a house cleaner (Daniel MacIvor) who hunts down old lovers in the belief that true love has a particular smell, a French eye doctor (Philippe Volter) who’s going deaf, and a little girl who disappears. The story didn’t fully answer all my queries about the characters, but did such a nice job of keeping me interested that I wound up appreciating the mysteries that remained. 105 min. (JR) Read more
This feature-length film (2000) of Margaret Cho’s potent one-woman show recalls the early stand-up films of Richard Pryor 20 years ago. There’s the same confessional fervor and pain-ridden comedy deriving from a restaging of traumas having to do with identity crises and substance abuse. As a 31-year-old Korean-American, former alcoholic, star of a discontinued sitcom, and self-described fag hag, Cho has plenty of issues of her own. But there’s a similar kind of hilariously cathartic autocritique as she examines her efforts to lose weight and become less Asian when her sitcom was in jeopardy, and her priceless impersonations of her mother offer a pungent concentrate of her complex responses to racism. It’s hard to think of many more galvanizing definitions of what it means to be an American than Cho’s volcanic self-assessments. 90 min. (JR) Read more
Writer-director Alan Rudolph, working from a story written with John Binder, calls this a screwball noir, which suggests both the film’s charm and limitations. It’s an oddball vehicle for Emily Watson, who’s a security cop spouting endless malapropisms while uncovering corruption around a casino. The charm resides in the performances by Watson, Dermot Mulroney, Nick Nolte, Nathan Lane, Brittany Murphy, and Lesley Ann Warren, as well as in the stylish mise en scene, but the characters and plot seem slightly shopwornnoir is used more as formula than as a means of discovery or commentary. (By contrast, Rudolph’s previous feature, Breakfast of Champions, unreleased locally except on video, is one of his best.) Expect something lightweight and you shouldn’t be disappointed. 117 min. (JR) Read more
This doesn’t approach the achievement of Manoel de Oliveira’s previous feature, Inquietude, the highlight of last year’s festival and my favorite film of 1998. But the 34th film of Portugal’s greatest filmmaker maintains his usual cool audacity, fearlessly courting absurdity at every turn. Now that he’s in his early 90smaking him the only living filmmaker who worked before the coming of soundyou might say he’s entitled to his dry conceptual wit; but this wasn’t the position of the members of the American press at Cannes when The Letter won the jury prize, many of whom seemed scandalized. An adaptation of Madame de La Fayette’s classic 1678 novel about court intrigue and unrequited love, La princesse de Cleves, transplanted into contemporary European high society and played out in designer clothes, it simply and brutally juxtaposes two eras 300 years apart to elicit not easy laughs but sustained, amused disbelief. The heroine, suffering stoically in a passionless arranged marriage, is not so much played as embodied by Chiara Mastroianniwhose mother (Catherine Deneuve) was cast in de Oliveira’s The Convent and whose father (Marcello Mastroianni) was in his Journey to the Beginning of the World. Even less acted is the object of her concealed love and lust, the famous Portuguese pop singer Pedro Abrunhosa, imperturbably playing himself as an incongruous stand-in for the duke of Nemours. Read more
Gordon Hessler directed this 1974 British feature, whose main raison d’etre is some first-rate Dynamation special effects from Ray Harryhausen, including a ship’s figurehead that springs to life and Sinbad crossing swords with a six-armed statue. With John Phillip Law and Caroline Munro; Harryhausen collaborated with Brian Clemens on the script. 104 min. (JR) Read more
Christopher Wilcha’s fascinating feature-length video reminds us how seldom we’re allowed to see certain businesses operating from the inside. Wilcha, a 22-year-old college graduate and alternative-rock enthusiast, was hired by the Columbia Record and Tape Clubapparently as a fluketo help launch a whole new niche-marketing division, which brought him face-to-face with the contradictory meanings of the term alternative once it’s been embraced by the mass market. He brought his video camera to work every day, and what emerges are selective glimpses ofand thoughtful reflections onhis extended stint with the company. He notes the mythological and practical differences between various floors of the company’s Manhattan headquarters and shows what happens at the national headquarters elsewhere; he describes how the club’s guide is written and edited, how changes in staff affect his own peace of mind, and how certain people behave at parties and staff meetings. This is a good deal better than your typical 60 Minutes segment, registering as autobiography as well as investigative reporting, and Wilcha’s wry intelligence kept me glued to the screen. (JR) Read more
This likable comedy-drama from mainland China cogently demonstrates that some of the best old-style Hollywood pictures nowadays are apt to come from almost anywhere except Hollywood. This is a nostalgic look at the last days of a traditional bathhouse before it’s leveled for urban renewal, a movie about community that actually calls to mind something like The Last Picture Show. Zhu Xu (who turned up recently in the title role of The King of Masks) is very effective as the old man who runs the bathhouse, and so are the actors playing the mentally challenged son who lives and works with him and an older son who comes to visit. Writers Liu Fen Dou and Cai Xiang Jun and director Zhang Yang move freely and gracefully between fantasy and reality in this sentimental 2000 film, which never becomes as trite or calculated as you might fear, maybe because mentally challenged characters aren’t the same kind of standbys in Chinese cinema as they are on Oscar night. In Mandarin with subtitles. 92 min. (JR) Read more
Possibly the most obscure feature by independent horror specialist George A. Romero (Night of the Living Dead, Monkey Shines: An Experiment in Fear) is this pungent little romantic comedy from 1972, also known as The Affair, about an antiestablishment type (Ray Laine) getting involved with a woman who acts in TV commercials (Judith Streiner). One of the few Romero films written by someone else (Rudolph J. Ricci), it has a good eye for the kind of unglamorous middle-class life seldom seen in American movies (occasionally it even recalls John Cassavetes’s Faces, released four years earlier), and it’s highly evocative of the early 70s. It may not be an unqualified success, but I prefer it to the subsequent Knightriders, another personal effort in which Romero stepped outside the horror genre. (Interestingly enough, the only scene here reflecting Romero’s horror-movie orientationas well as his Catholic backgroundinvolves the heroine’s trip to an abortionist.) 91 min. (JR) Read more
