leliorisen Reviews

L.I.E. (2001)

Not the L.I.E. I know, but hardly a lie either.

[8/10 · 23 June 2003]

(possible spoilers below)

As both a gay man and a Long Islander, this film unsettled me in a number of ways.

First, I have to give the filmmakers credit for pursuing a topic, pedophilia, that you just don't see addressed. However, since there are those who victimize children out there, it is healthy to see the theme explored rather than pretend it doesn't exist.

As a film, the good news is that the performances are generally excellent. There are some cartoonish characters (such as the boy's father and the friend who thinks it's fine to sleep with his sister), but the leads are uniformly excellent.

In particular, Brian Cox as Big John, Paul Dano as Howie and Billy Kat as Gary bring believability and a multitude of dimensions to their roles.

Some of the direction tended to be a bit choppy and, some of the minor situations seemed rather implausible.

For example, the L.I.E., which is often so congested it resembles a parking lot, always looked like a highway where cars cruised at 70 mph. My friends and I had an ongoing chuckle over that. Additionally, all the house break-ins during broad daylight would surely have resulted in quicker arrests. Heck, the boys don't even leave when the alarm starts to go off. Did the screenwriter think there was no police presence in Suffolk County?

Also, while the rest stop in question has a reputation for being a cruising spot for adults, there is never the type of underage overt presence that this film would lead you to believe. And some of the pedophile's connections with the police and business owners really do border on the incredible.

While I realize that there are obviously well-connected pedophiles, some of that story line defied believability.

Also, on Long Island, it would hardly be treated as acceptable if a boy bragged about having sex with his sister.

My biggest problem with the movie, without giving too much away, was the ending. It was the type of moralistic ending that Hollywood would demand for tackling the subject. An earlier documentary, "The Celluloid Closet," pointed out that just being gay in a movie was to guarantee a tragic end. While the resolution of this movie ties up things in a neat little package and gives the moralists their time in the sun, it wasn't especially realistic. Leaving the film open-ended would have been more honest and more troubling.

Having said that, L.I.E. is well worth a viewing. It may make you feel a bit creepy, but good movies should challenge our comfort zones and address reality, shouldn't they?

I give it an 8 out of 10.

Soldier's Girl (2003 TV Movie)

Homophobia kills

[9/10 · 18 June 2003]

(To those unfamiliar with the true story that the movie is based on, there are spoilers below, please be advised.)

I am very familiar with the murder of PFC Barry Winchell back in 1999. I send out a newsfeed to the glbt community on the Internet and was especially disturbed to be sending out coverage on this story as it unfolded.

As far as the movie goes, it is very unsettling and hard to watch, once you know the subject matter....in the same way that "Boys Don't Cry" was very hard for me, not to mention the Matthew Shepard movie incarnations. But it needs to be seen.

Words can't express the horror one can feel when you know that your sexuality alone is enough to make someone want to brutally kill you.

Watching this story left me feeling desolate and sad. I gave it a 9 out of 10, because of the amazing performances of the leads in recreating this tragic tale. But I had a problem with it.

Winchell's actual killer is hardly a part of this movie until near the end. There was very little attempt made to flesh out the hostile relationship. From this movie's point-of-view, the real killer was the roommate who instigated it. While that may be the case, it seemed cinematically unbalanced to present a case for him that almost seemed to elicit sympathy, without letting the viewer know more about the goings-on inside the actual killer's head.

Additionally, those that know the real story have learned that there was apparently a climate of homophobia and anti-gay harassment present at Fort Campbell. But, from the movie, you'd never get the sense that anti-gay harassment was all that much of an issue. Winchell was allegedly harassed repeatedly. This film does not really convey that.

Outside of an over-zealous officer, who chanted anti-gay cadence songs (it was widely publicized, by a gay soldier who left the base after the killing, that this went on at Fort Campbell AFTER the Winchell murder)and the 2 who went to jail, everyone else comes off as relatively tolerant of gays, as if "Don't Ask, Don't Tell" works.

America is virtually the only western nation (I believe the other is Turkey) that does not allow gays to serve in the military.

After watching the ultimate result of codified homophobia that this movie relates, hopefully people will start understanding that homophobia does, indeed, kill, and start demanding a change.

The Big Chill (1983)

The Way We Were

[9/10 · 18 June 2003]

I am about 10 years younger than the generation that makes up the Lawrence Kasdan masterpiece, "The Big Chill." But when the movie came out, and I was a decade removed from my own midwestern Big 10 alma mater Wisconsin (as opposed to the film's Michigan alumni), the film had an enormous impact on me. For a long time, it remained the film I would list as my all-time favorite.

While I still am a big fan of the film, having recently purchased the DVD and seeing it for the first time in quite some time, I did find a hint of dated psychobabble, enough for me to drop it a notch to a 9 from a 10. But what the film did so well was inhabit a certain generational psyche and mindset and it did it with finesse.

What makes The Big Chill so special is the way it captures a particular group of friends who have an evolutional moment in their lives when one of their college friends passes on. It's a film about re-discovering ones own lives and roots and moving on.

Those who lived close enough to the generation in the movie to have understood what the characters represent, appreciate the insightfulness and message of the film. And the incredible soundtrack remains one of the best uses of music in movies ever.

It was this film that turned me on to a whole slew of superb actors. Kline, Hurt, Close, Place and crew exude great chemistry. The entire experience was exhilirating at first viewing and remains so to this day for me. It's a personal film and tends to make one examine their own lives and relationships.

Sure, there is a bit of dated material in it, but it still is vastly superior to much of the current wave of self-indulgent swill that uses similar ensemble conventions.

Interestingly, I can somewhat understand someone who did not live in this time being bored with it. However, I don't think that that is a flaw of the movie.

For those of us who can relate to the era, it is well worth the invested time.

Texas Chainsaw Massacre: The Next Generation (1994)

All-time worst films? Not!

[6/10 · 31 May 2003]

I recently bought this film on DVD and was surprised about some of the nice touches in it.

Sure, the film suffers from very choppy editing, especially near the end.

Initially, watching the last scene, I scratched my head and said "what was that?"

However, after giving it some thought, it actually made sense in an "X-Files" sort of way. Certainly, it represented an original point-of-view that is rare enough for these types of movies.

Matthew McConaughey and Renee Zelwegger give charismatic performances, which makes their later stardom understandable.

As for the dumb dialogue and over-the-top performances, it was obviously intended to be campy, and, in many instances was funny and effective. Even the incredibly ditzy, wooden, female victim was obviously directed to perform in that manner. I highly doubt it was just a case of merely bad acting.

To the movie's credit, though it is brutal (and somewhat misogynistic) in spots, there is an absence of true gore. When a man gets repeatedly run over by a vehicle, or another character gets their head crushed underfoot, the actual gore is kept off the screen. This makes the deaths seem more horrific.

I was not enamored with the idea of Leatherface as being transgendered. That's been overdone in similar films and is rather unnecessary. In fact, one tends to feel sorry for Leatherface, more than anything else.

The film was atmospheric, though not especially scary. It reminded me of a live-action cartoon. Similar in style to the "Tales From The Crypt" series.

My main gripe, and the reason for just giving it a 6 (out of 10) was for some of the brutal sadism. For example, one of the characters is repeatedly poked and stunned with a cattle prod. It happens over and over again until you just want to scream at the director "Enough." A little too much relish went into terrorizing the females in the movie (not the men). Unfortunately, all that does is make you question the director's motives, which is not a good thing.

Drift (I) (2000)

UGH!

[3/10 · 1 March 2003]

Do gay-themed movies get any more self-consciously awful than this garbage?

What the filmmakers didn't realize is that all those trite avant garde movie cliches are bearable only if you have characters that one actually cares about. Otherwise, the constant juxtaposition of old scenes with new ones becomes as obnoxious as the characters and equally hard to love.

As I watched with my friends we tried to amuse ourselves by coming up with more fitting film titles (between snores, of course). I think the one that fits best is "Groundhog Drift."

I gave it a 3 but am wondering if that wasn't too high?

My Mom's a Werewolf (1989)

Nothing to howl about

[2/10 · 12 January 2003]

Not sure why I even gave this film a 2, as opposed to a 1, as it is wretched.

Maybe because it is merely bad and not offensive.

I cannot imagine a more uninvolving and stupid movie. But at least it captures the 80s at their worst.

I suppose that counts for something.

A River Runs Through It (1992)

A Masterpiece: I am haunted by waters

[10/10 · 1 November 2002]

I am a film buff and I must say that out of all the movies I have seen over the years, "A River Runs Through It" is #1 on my list of great films. It ranks as my all time favorite.

I recently bought the DVD and was amazed that, despite having seen this film for the umpteenth time, I am still incredibly moved, often to tears.

The final narrative, to me, is the ultimate motion picture experience and delivers the promise of what certain movies can do if they set their sights high enough...and that is elevate the viewer and give them an experience that transcends beyond the mere act of watching, but gives lessons in life that one will remember and use for years to come.

More than anything, "A River Runs Through It" is about family and how the choices we individually make may take us down different paths, but can never dilute our bonds and love. Watching it, I am constantly reminded of the paths my own brother and I have made and how differently our lives have turned out.

But back to the film. It is understated, and yet blissfully exquisite in expressing its passion for life.

I actually learned flyfishing after seeing this for the first time a decade ago. In this movie flyfishing is a spiritual experience and represents a total communion with nature. It is during flyfishing that, despite the paths the characters have chosen, they can toss everything else aside and be bound to each other for all time.

There are many movies I love, but this is the only one that causes me to get chills over and over again.

This movie is sheer perfection. I continue to be haunted by waters.

A Nightmare on Elm Street: The Dream Child (1989)

Freddy doesn't make the cut baby.

[3/10 · 12 October 2002]

The only thing that prevented this flick from being a total disaster were a couple of interesting stylish touches.

(Moderate Spoiler Alert) Death by comic is a bit derivative of a scene in Twilight Zone: The Movie, which delivers death by cartoon. Still this was handled nicely, especially watching the ink bleed and the color being sapped out.

Additionally, there is one other good scene with a demon motorcycle.

Having said that, I was glad I got the DVD cheap at a store going out of business sale, because this was pretty awful. I bought "Soul Survivors" at the same time and both movies were similarly annoying with the constant realizations that you have been watching a dream. However , where "Soul Survivors" has nothing to redeem it, or have it make any sense, this at least had a couple of stylish notes, referred to above.

Interestingly, the DVD lets you go to the 8 'nightmares' where something actually happens, which is the only way to watch this. The scripting between the creative gore moments is rather unbearable.

3 out of 10.

McCabe & Mrs. Miller (1971)

Perfection

[10/10 · 25 September 2002]

This is one of the finest movies I have ever seen. Haunting and powerful.

I first saw this film in the mid-70s as part of a film class at the University of Wisconsin. I had no interest in seeing it when the film came out, because I really was not interested in Westerns. I had no idea that this was to be the quintessential anti-Western.

This Robert Altman masterpiece deconstructs the romantic mythology about life in the Old West and through visual and audible poetry transforms the viewer into a reality that we seldom choose to examine, that being that the growth of corporations in American history has a serious darkside. Individuals were trampled in the name of corporate greed, but it seldom is referred to, in deference to patriotism and keeping an idealized view of how this country was built.

There are only 2 films that I have seen that in one instant can jar your senses and totally change the entire mood and transport you into an entirely new mindset. Barton Fink was one. McCabe & Mrs. Miller the other. I will not spoil the moment for those who have not seen it, as those who have watched this know exactly at what point this movie goes from romantic frothiness into stark, sobering reality.

I will put that moment in McCabe & Mrs. Miller as one of the most powerful scenes in movie history.

I recently bought the DVD, having not seen this movie in years. It was every bit as riveting as I remembered. And the Leonard Cohen soundtrack gives just the right mood. I had forgotten how haunting this movie was and how it makes such strong use of silence and the roaring of the wind.

The DVD also has the benefit of a commentary track featuring Robert Altman and one of the producers. I have only checked out the beginning of the commentary so far, but it seems quite rich and full of insight into Robert Altman's sensibilities. It is just another fascinating layer for film buffs to treasure.

What I find sad is that many have not checked out this flick because they assume it is a conventional western (I do think the title is unfortunate). I am planning on having a couple of gatherings just to turn folks on to this amazing film.

It's hard for me to pick an all-time favorite movie, but this is certainly in my top 5.

A must see.

Soul Survivors (2001)

And then I woke up

[2/10 · 20 September 2002]

So I finished watching Soul Survivors and then I woke up.

I went to write a review on IMDB because I finished watching Soul Survivors and then I woke up.

I wanted to capture how annoying this movie was so I went to write a review on IMDB because I finished watching Soul Souvivors and then I woke up.

Not to be derivative but I see dead people mixing up their final destinations and still know what they did last summer.

Sadly, it's not a scream.

And then I woke up.

Pacific Heights (1990)

Just when you though it was safe to rent out the studio....

[6/10 · 24 August 2002]

Pacific Heights annoyed me. It's not so much that it's a bad movie, but it certainly seemed flawed in a way that made me wonder what was left on the cutting room floor. There are several incomplete scenarios and a plot that only works if the facts as presented are believable. I didn't think they were.

The essential premise of Pacific Heights, allegedly based on a true story, is that the way the laws are set up one can rent out an apartment to a psycho and that psycho can then destroy you and your property while claiming one court victory after another. The way this is presented is just simply unbelievable. In the meantime, observing what Keaton will do actually becomes rather anti-climactic and, ultimately, boring.

As for incomplete scenarios, we never really get a sense for who the person with Keaton in the apartment really is, or what ultimately happens to him. We never really learn what Keaton's character gained from the opening sequence. We are shown a minor character's application becoming accidentally ignored and yet it plays no role because the man later doesn't believe that it was an accident anyway and his involvement doesn't really matter ultimately. So what was the point? To imply racism that wasn't apparently there in this case?

The performances salvage this from being awful and it is why I gave it a 6. Michael Keaton does a good job as an amoral person. One gets the sense that behind the blank stare there really is no moral code. Melanie Griffith is her usual soft-spoken self, but it works here. Although, considering how laid-back she is, one marvels that she would have the chutzpah to try and exact revenge. As for Mr. Modine. Well, he does have 2 emotions to convey: self-satisfaction and hysteria. And he gets each accomplished on cue. He struck me as the 1990 version of Ben Affleck. Easy on the eyes and empty between the ears.

Pacific Heights was interesting and realistic in that, in today's market especially, the only way to own a decent home may involve renting out apartments. This is a cautionary tale for nervous landlords.

(mini-spoiler below)

Yuppie priorities also take a beating. In what other movie does a miscarriage become a throwaway subplot to the real tragedy, in this case, the desecration of one's property?

Dry your tears and pass The Wall Street Journal please.

Bed of Roses (1996)

Good film if you don't dig too deep

[7/10 · 4 May 2002]

I bought this movie primarily because I am a sucker for a good love story and I also happen to love Jann Arden's "Insensitive." I was quite surprised to learn who the song was directed to in the film, but that's another story.

On the level of light entertainment, this film makes a nice viewing. But when you go below the surface, there are an awful lot of problems.

It's one thing to have a relatively short film (88 min). It's another to have a 3-month time lapse condensed to a couple of minutes and give us no clue as to how one of the 2 characters is faring until we see the resolution. There were several times in this film when there were substantial time shifts and it was interspersed in such a manner that you tend to get thrown a bit off-balance.

*SPOILER: Additionally, this film is a bit offensive in that it uses prior child abuse merely as a plot device. It never really delves into it and keeps everything vague. Because of this Mary Stuart Masterson's character certainly comes off as alienated, but only in a surface manner. One would assume that a long-term relationship might only work for her if she initiated serious therapy. This film never addresses that. If one believes that 'love conquers all' it would probably not be an issue. But that concept isn't reality-based.

And there are unneccesary ambiguities in this film as well. Is the issue of Masterson falling in love being met with dissatisfaction from her boss? Has she become a better worker for not being a workaholic? These office scenes are handled very poorly and become relatively superfluous.

Performance-wise, Christian Slater does indeed come across well as an offbeat prince charming and Pamela Segall is excellent as the best friend, though she seems to be channeling Brenda Morgenstern. The biggest problem is Mary Stuart Masterson. She plays awkward and stiff well, but this role could probably have been cast better. Personally, I would have liked to have seen someone a bit plainer, such as Janeane Garafolo, in the part. It would have given Slater's motivation more depth. Could he fall in love and attempt to be a savior for a troubled woman if she wasn't especially pretty?

At any rate, "Bed of Roses" is well worth a watch. Just so long as one enjoys it for the light entertainment it is.

The Invisible Man (1933)

Camp Classic

[26 April 2002]

It is very hard to judge this film on its merits as a horror movie, because there is very little that is genuinely scary.

However, it is worth seeing for several reasons: the innovations of its 'invisible man' special effects (impressive for its era)...the wry, campy wit that James Whale injects into it...not to mention an interesting assemblage of supporting players (Una O'Connor nearly steals the movie as the hysterical innkeeper's wife).

There are serious flaws with the plot. Considering how frail the Invisible Man appears to be in real life, one would think he was imbued with superhuman powers to elude the police for so long and kill so many people. And yet he wasn't. All he was, was lucky. It really doesn't make sense that he was able to cause so much mayhem without getting caught. I kept thinking, as I watched, are the police and his victims really that stupid.

Some of the effects were a bit silly, the train wreck for one. Watching the giant water droplets when the toy train falls into the miniature pond should give you a chuckle.

And some of the acting....seriously, I love Gloria Stuart and have had the pleasure of interviewing her, but to say she was overwrought in this role is actually being kind.

And yet, it is the over-the-top aspect, including a wonderfully loony Claude Raines, that makes this totally enjoyable. It's very campy and far more likely to elicit smiles than shrieks.

I purchased the DVD, but have yet to access the extras. I have previously purchased Whale's 'Bride Of Frankenstein' and 'The Old Dark House.' He is one director definitely worth watching. Especially for fans of movie history.

A.I. Artificial Intelligence (2001)

Awe-inspiring: Pinocchio meets E.T.

[9/10 · 23 April 2002]

I didn't catch A.I. in the movies, because I was foolish enough to listen to friends and certain critics, who complained about the schizophrenic nature of the movie thematics and expressed disappointment over what I imagined was an over-hyped picture.

I bought the DVD and found the film mesmerizing. This film is nothing short of awe-inspiring and brilliant. It is not a perfect film but it's audaciousness and vision makes up for the fact that we never quite seem to see various subplots come to satisfying fruition. Characters are introduced that we are made to care about and then just disappear from the story altogether. Ultimately, everything makes sense.

Most importantly, the core truth of the tale (the Pinocchio story) remains and how the director ultimately pulled off that feat was just so impressive. I was literally in tears, matching Haley Joel Osment, streak for streak.

Exquisite and provocative, this film is a must for those who truly love the craft of film, especially films that encourage a break from the traditional story-telling mode.

I can't wait to see it again and the double DVD is just an embarrassment of riches.

The Troublemaker (1964)

Quirky jewel from the 60s

[7/10 · 4 April 2002]

I saw the movie on cable last night, but could not find it in the TV listing, ironically enough. I didn't catch the entire film, maybe about an hour's worth, but it is definitely one of the most offbeat films from the era. Buck Henry came off as a cross between Jack Lemmon and Steve Allen, with Tom Aldredge as a Gene Wilder type.

The entire ambience was reminiscent of Dobie Gillis and there is a very New York-sensibility throughout. Actually it almost seemed like the cinematic bonding of Woody Allen and Maynard G. Krebs.

It also seemed to foreshadow the coming free love movement of the latter part of the 60s with a very frank look at sexual openness in relationships.

Surprising, quirky and original. I would love to own it on DVD if it ever becomes available. Wishful thinking? Well, it is being played on cable, so who knows?

Eat Drink Man Woman (1994)

Life is full of surprises

[9/10 · 28 March 2002]

This movie is a visually sumptuous confection served up by Ang Lee as a follow-up to The Wedding Banquet.

While some people may be put off that the film is in Mandarin with subtitles (and the DVD does not have a dubbing option), the film is so strong visually that you forget about the subtitles and just admire the thoroughly delightful story.

I found the film's theme very interesting...that life constantly surprises, especially if one opens themselves up to life's possibilities.

Nothing in this film plays out like you expect it to. It is the single common thread between the multiple story lines. If this film has a flaw it is that too many of the changes happen too suddenly, without an examination of the processes that led to the sudden developments.

The food scenes in this film are to die for. In this case, as opposed to being a primarily carnal sensual experience as it is in films like "Chocolat" and "Like Water For Chocolate," food also takes on a rhythmic intensity and meter here. There is amazing energy and balance displayed in the preparation and presentation of the meal. Sort of like Feng Shui for the tummy.

Bon Appetit.

Radio Days (1987)

Woody's Best Film

[10/10 · 6 February 2002]

One of my all-time favorite movies and, I believe, Woody Allen's best film.

What sets this film apart for Allen is the special warmth he has for the era and the characters that populate it. Recently reliving the experience on DVD, I was amazed at how every scene seems to hit a bullseye...both as individual vignettes and ultimately weaving together to make the overall quilt.

It is a film that celebrates the glorious quirkiness of our own families and the wonderful stories that individual lives can tell.

It is also a loving tribute to the medium of radio, which has ultimately been destroyed by FCC deregulation. It's nice to think of it in the days when it enriched the imagination of everyone listening.

Guy LeBow's bit with the increasingly handicapped pitcher and Mia Farrow's brush with the mob over an italian dinner are priceless. But this is a film laden with jewels.

Paragraph 175 (2000)

Vital film could have been constructed better

[8/10 · 2 February 2002]

While I think that everyone should see this film because of its vitally important subject matter, I feel that because of lax editing and meandering, incomplete story telling, it was much less effective than it should have been.

As just one example, and I have been studying Nazi persecution of homosexuals, the movie briefly refers to a gay man's friend who was killed by German Shepherd dogs in front of 300 people. I read a similar account on the Internet (I suspect it was the same case), in which graphic details were given of the brutality of the crime, details which, if you heard or read about, you would never forget. To just gloss over this compelling tale in the manner the movie does is inexcusable. How can one understand the true horror when it is glossed over.

Additionally, one of the major points of this film should be how many gay concentration camp victims were still treated as prisoners after the war, specifically because of Paragraph 175. It is barely a footnote in the movie. This is inexplicable to me.

What is good is having a record of living survivors of gay detention during the Holocaust. It remains the reason for seeing this movie. But the narrative is very meandering and a few of the lingering close-ups of some of the survivors breaking down almost feels exploitative.

Bottom line: because of the important subject matter and the live interviews the film needs to be seen. I just wish it had been made more coherently. A film with this type of material will always be powerful. It could have been far more so had it been made by better filmmakers.

The Forgotten (1973)

Don't Look for Sense in the Title

[3/10 · 19 January 2002]

Naming this movie "Don't Look In The Basement" makes absolutely no sense. It's not as if it refers to any climactic event. Or maybe it did and I just missed it.

I would like to rate this higher for camp, but after while the disparate, amateur-hour performances become so overwrought in their own way that one starts to get a headache and fidget for the flick to finally end. It wouldn't be so bad if it were just bad actors prattling about, but what is most irritating is that they are trying to show everybody how good they are in their roles and over-acting to the point of lunacy. You've heard of actors chewing scenery. This crew not only chews, swallows and digests the scenery, they regurgitate it. I don't recall ever hearing so many actors scream and shriek their lines more often. One even appears to shriek and scream long after they seem to have been killed.

This film should have been titled, "I May Be Schizophrenic, But I'll Always Have Each Other." It would have made about as much sense.

Abbott and Costello Meet Frankenstein (1948)

Horror/Comedy gem

[8/10 · 12 January 2002]

The pleasure of seeing 2 comics at the top of their game, pitted against the cream of the Universal monster cop is a true delight. The DVD also comes with a documentary, film historian audio track, the trailer and more.

What's interesting here is the rare intersection of a film that goes knee-deep in 2 genres. In addition to showcasing the A & C comedy team at the peak of their prowess, this film also says a very respectful goodbye to the old-style monsters of the 40s.

After "Dracula," this is Bela Lugosi's only other appearance in the role.

A must see.

Traffic (2000)

Needed more editing

[7/10 · 11 March 2001]

I do not understand all the excitement about this movie. Having watched both Erin Brockovich and Traffic, the one thing I felt they both have in common is that both stories could have been told with 15-30 minutes less running time.

By the final half hour of this movie, I was repeating a mental mantra....edit....edit....edit.

Part of the problem for me was that the topic alone made it clear that there is no true resolution, which is part of the point of the picture. But if one knows this already, all the drawn out tendrils of plot are going to lead to nowhere anyway.

I don't have an issue combining languages and using subtitles in an essentially English language film, but it happened so frequently I think it jarred the overall pacing of the film.

One final thought...and I say this, because I believe that the Oscar pundits have already annointed Benicio Del Toro with the Best Supporting Actor Oscar, BEFORE the awards. Del Toro was good, but how does anybody beat Willem Dafoe in Shadow Of The Vampire this year. I think any number of actors could have pulled off a performance comparable to Del Toro's turn here. But there are only a handful that could have duplicated Dafoe's magic and brought Nosferatu to life.

Hannibal (2001)

Welcome to Camp Gore

[7/10 · 11 February 2001]

Audience response is a good way to gauge this film. In the packed house in Chelsea (Manhattan) on opening night, the main reaction was laughter to the assortment of Hopkins' 1-lecters (oops, make that 1-liners) that were sprinkled throughout. The other noticeable reaction was the audible wincing that took place at several points, most notably at the onset of the climactic skull-opening.

There was not a particular sense of horror or dread that built up with the film, though there were plenty of spots where one has a hard time staring at the screen. While gore has been more frequent and more gruesome in other films, it is the campy staging of the gore that is the trademark of Hannibal.

This is one of those films to see for the 2 or 3 scenes that will be discussed at the water cooler. If you are looking for a satisfying thriller in the Silence Of The Lambs mode, you're bound to be disappointed.

It certainly wasn't boar-ing. However, I also didn't find it to be a rip.

Chuck & Buck (2000)

Superb Film -- Buy The DVD

[9/10 · 11 February 2001]

I thoroughly enjoyed Chuck & Buck and am pleased that some critics understood what Mike White was trying to create.

While there are some inconsistencies in the script, this movie works best if you don't take things too literally (for example, how on earth did Buck actually locate Chuck to begin with? And what would make Chuck travel back for the funeral?).

In the key scene where Chuck confesses that he remembers everything the scene progresses rather logically and gives the film its resonance and, ultimately, its haunting quality.

My only quibble is the ending, which seemed to be a case of "gee, let's end this movie before we go over budget." While it makes dramatic sense to end the movie where they did, there could have been a better staging of the final scene.

This is one of those films that should only be purchased in DVD format, which is loaded with riches, including 2 audio commentary tracks, and a variety of deleted scenes. It is a film buff's delight!

Movie 3 1/2 stars, DVD 4 stars (out of 4)