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CHRISTIAN SAUVÉ

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MOVIE REVIEWS

2001

2001-2004, Christian Sauvé

The Internet Movie Database says: (As of January 2004)

And I say (In alphabetical order):

15 MINUTES (2001, Crime Drama): The power of the media! The lack of responsibility of current Americans! The failings of the judicial system! The undue respect given to criminal behavior! Big ideas! Bad execution! 15 MINUTES has a twist or two that save it from total collapse, but more often than not, it ends up playing like a cartoon with a body count. The caricatural east-European bad guys don't help, and neither does the oh-so-bad media newsperson. I mean; we've seen most of these issues raised as afterthoughts in DIE HARD... did we need an entire film dedicated to it? Wit requires subtlety, and 15 MINUTES is usually as subtle as a sledgehammer. If anyone escapes from the film with some honor, it's Ed Burns, turning in a good performance despite a badly-written role that follows the typical cop-turns-psycho arc we've come to expect. (It doesn't make much sense, but then again it rarely does. Other plot threads even disappear in mid-flight.) Good cinematography, and the direction had its moments despite an overuse of "amateur camera" shots. The film's third quarter is actually quite good, thanks to one hard plot twist and a meanly effective fire action sequence. After that, it just gets sillier, and I don't think that was the intent of the filmmakers. (In theaters, May 2001)

A.I. ARTIFICIAL INTELLIGENCE (2001, Science-Fiction): The traditional fault of filmed science-fiction is the preponderance of visuals versus content, of gosh-wow over serious extrapolation. AI is a useful lesson in the lesser-known danger of going too far in another direction and ending up with a pretentious snoozefest. To put it simply, the nonhuman thing has been done already. From Star Trek's Data to TV's Alf (with countless other examples), I think we've seen every conceivable modern interpretation of the Outsider/Pinnochio myth. We didn't really need another one, and needed even less a film that boldly went where every other SF writer has gone before. Thematic failure compounded by an overabundance of stupid non-questions ("Can humans love objects?" Well, try taking my teddy bear away from me and you'll die.) and contrived non-questions ("Well, we'll grant you your biggest wish, but babble-babble-babble it'll only be for a day. Sorry. Nature of the universe. Sucks, doesn't it?") It wouldn't be so bad if it wasn't all done in an entertaining fashion, but no... Stock up on caffeine before starting the film, because otherwise it's a straight trip to sleepyland. It's a shame -and a telling impression- that I wanted a film about the Teddy and Gigolo Joe secondary characters rather than the one I ended up seeing. It really doesn't help that the film ends fifteen minutes after its logical ending, with a grating end sequence that it awful in all sort of different ways, but most egregiously by telling you what's going to happen, and then spending ten minutes doing exactly that. And notice how I haven't yet said anything about the manipulative sentimentalism of the production. Much has been said about this Spielberg/Kubrick "collaboration", but in the end, Spielberg on Kubrick is like pouring a ton of sugar on a concrete slab. Interesting concept, but not an intrinsically entertaining experience. (In theaters, July 2001)

ALI (2001, Biography/Drama): I can recognize that Michael Mann is a great director, but goodness—please give him some espresso so that his films move more quickly. It's not enough to spend the first twenty minutes of the film on a single fight, but we have to spend another five minutes later on jogging through the capital of Zaire and interminable moments on trivial details of Muhammad Ali's life. It's not only slow; it's wasteful! ALI doesn't add up, despite the best efforts of everyone involved, to a very good biography of its title subject; Seeing the documentary WHEN WE WERE KINGS immediately after this film gives an idea of the real significance of Ali, and how Mann's ALI completely misses the target with a plodding, anecdotic narrative. Will Smith only looks like the younger Ali (not the older one of the "Rumble in the Jungle") but whenever he talks, his voice inflexions are undistinguishable from the real Ali. It's a courageous film (the political dimension of Muhammad Ali is never too far away) but ultimately a flawed one that ultimately squanders precious talent on a script that doesn't give us a true measure of the man. Too bad! (In theaters, March 2002)

ALONG CAME A SPIDER (2001, Thriller): Yet another of those thrillers that don't really make sense if you give it more than a moment's thought, ALONG CAME A SPIDER works better as a way to feature Morgan Freeman and/or string along a series of suspense sequences. Though the film tries to sell you a super-criminal mastermind, the end effect is under-whelming and doesn't possess an aura of reality. The final twist is a pure cheat, once again making no sense if you watch the film a second time. Not bad while you're watching it, but it might leave a sour aftertaste. (In theaters, July 2001)

AMERICAN OUTLAWS (2001, Action/Adventure): Whee! Six-shot guns and loads of fun! Let's not kid ourselves and pretend that AMERICAN OUTLAWS has anything more than superficial historical accuracy: This is an out-an-out action film with virtuous heroes, hissable villains, predictable plotting and pretty darn good explosions. Our hero here is Jesse James, and of course he's not a bank robber as much as he's a farmer trying to save his homestead. His friends are along for the ride, fortunately, and together they make beautiful bank robberies. Oh now, what's that? Timothy Dalton as Alan Pinkerton? Hmm! In any case, don't be surprised if you end up calling when bad guys arrive on the scene to set fire to the houses or capture our hero. You're just supposed to go along with the ride and whoop it up at the Hong-Kong-style double-gun action. All in good fun. Don't mind the dialogue. (In theaters, August 2001)

AMERICA'S SWEETHEARTS (2001, Romance/Comedy): On paper, it's hard to see where this could go wrong: John Cusack and Julia Roberts as leads, Catherine Zeta-Jones and Billy Crystal as foil with small roles to Seth Green and Christopher Walken... it should have worked perfectly. And yet the film is a train wreck, with limp gags, weak plotting, obvious setups and characters that go nowhere. Anyone who knows anything about the movie industry will roll their eyes at the pseudo-insider's view of the field. Save from infrequent moments, it just doesn't work at all. The actors may escape with their dignity intact, but that's about the only thing to remember about AMERICA'S SWEETHEARTS. (In theaters, September 2001)

THE ANNIVERSARY PARTY (2001, Drama): The difference between low-budget independent films made by nobodies and low-budget films made by famous actors is that the latter type of movies features faces you know. Otherwise, we're back to the whining cheap drama and meaningless existential crises that seem to pop up with depressing regularity in budding author's film. In this case, Allan Cummings and Jennifer Jason Leigh star together in a film written and directed by themselves, and they've invited every one of the famous friends to star in the film. The setup is simple, an anniversary party where the celebrated couple isn't too stable and most of the guests are as screwed-up as their hosts. Seductions, jealousy pangs, drug usage, weird hairdos, nude scenes, fights and a death ensue. You might start to care late in the film. The cast is stellar (Gwynneth Paltrow, Kevin Kline, Phoebe Cates, John C. Reilley, Parker Posey, etc...) and some of them even get naked... but not those who should. Best considered not as a happy-shiny piece of entertainments, but at a very personal reflection on love, friendship, relationships and the transitory nature of such. (In theaters, September 2001)

AVALON (Poland, 2001, Science Fiction): "From Mamoru Oshii, the director of GHOST IN THE SHELL" sounds like a pretty good sales pitch... until you realize that this means a live-action film that emulates all the most annoying characteristics of bad anime: Soporific pacing; re-use of the same shots; a threadbare plot barely deserving of being called a "story"; characters mostly defined by their cool nickname; inexpressive acting; obvious twists stolen from slush fiction; and so on and so forth. If this film had been paced like the usual American films, it might have lasted a good fifteen or twenty minutes. As it is, we're forced to slog through 90 minutes of sepia-tinted melancholy to get to where we know it's going to end. Beyond the weirdly stylized (and yet curiously dull) first sequence, don't expect much in terms of action: This is one anime film where long static shots are meant to induce roughly the same catatonia that affects the lead character. Some interesting cinematography, but is it all worth it? So many clichés and overused elements, yet still all wasted. It all ends, as you would expect it, with the usual metaphysical ending that truly doesn't mean much and concludes even less. Real or not? A better question: Do I care or not? Welcome to Avalon. (On DVD, August 2004)

BANDITS (2001, Comedy/Crime): Bring in the editor! Meshing crime adventures and romantic comedies require skill, wit and complete mastery of the AVID editing suite. Unfortunately, the filmmakers went for "atmospheric" rather than "snappy", and the result is a film marred by a leisurely middle section that sucks away the energy of the rest of the film. It's not as if our protagonists aren't appealing: Bruce Willis rocks as a cool criminal, Billy Bob Thornton is hilarious as a neurotic partner-in-crime and Cate Blanchett makes me swoon every time she dons a red wig. But the screenwriters try to cram too much of a romantic ménage-à-trois drama in too little crime comedy and the result screeches to halt as soon as our trio talks romance rather than rob banks. The non-chronological structure is initially interesting, but not much is ultimately done with it. It doesn't help that the ending is telegraphed well in advanced. Once in a while you have a great scene, like the self-convincing paralysis. Hey, it's not a bad film, just an unsatisfying one. It won't be remembered six months after its video release. (In theaters, October 2001)

A BEAUTIFUL MIND (2001, Drama/Biography): The first few minutes of this biography of mathematician John Nash are simultaneously painful and interesting, as a reasonably exciting portrait of a top-notch scientific mind is hampered by the "asocial scientist" clichés so beloved by Hollywood. Then the movie takes a turn for the bizarre as Nash becomes subject to increasingly complex schizophrenic disillusions. Alas, as the film started focusing on Nash's mental illness, I realized we were headed toward TV-movie-of-the-week territory. It's irrelevant that Russell Crowe turns in another award-caliber performance, or that Jennifer Connelly has never looked so good (and that's saying something!); once again, Hollywood goes for the easy target, the touching story of someone who has to overcome his handicap with love and determination. The last half-hour of the film becomes more and more difficult, as there is a palpable sense of distorted narration, half-truths and easy answers. Indeed, reading about Nash's "real life" (his bisexuality, his repeated hospitalizations, his attempted escape to Europe) quickly reveals how much the movie sugar-coated the truth. It's a bit of a shame, again, how the most visible cinematic portrait of a scientist once again drips of anti-intellectualism; it wouldn't be so bad if the film didn't try to generalize from it ("two helpings of brain, and half a helping of heart", etc...) Still, it's not a bad film; though long, it's not without interest, and even funny at times. (Though my funniest moment happens as an imaginary character pouts at being called a "disillusion".) If you're the type of viewer who goes nuts for nuts... (In theaters, January 2002)

BEHIND ENEMY LINES (2001, Thriller/Action): Sometimes, it looks as if some Americans are happiest when they're shooting at a clearly-defined enemy. At least that's the lesson I got from BEHIND ENEMY LINES, a military thriller that, in retrospect, clearly shows what kind of dangerous enemy Osama Bin-Laden woke up in September 2001: An aggressive giant with a trigger-happy finger and a thirst for a really bad guy. But then again, I'm reading way too much in what is, after all, an excuse for action sequences. As such, the film succeeds well: The aerial dogfight is one of the best such sequences I recall seeing, and there are a pair of action scenes later in the film that rival anything else seen this year on cinema screens. Owen Wilson manages to go from comedy to action quite effectively with this role, embodying an everyman quality that makes him more endearing than a actor like, say, Vin Diesel would have been. The film is directed with appropriate nervousness, though the various techniques used by first-time director John Moore eventually smack more of desperation than of inspiration. The techno-fetishist detail (like the hyper-detailed ejection sequence) is consistent with the written technothrillers. There are a few stupid moments, though, such as when an entire army shoots at the good guy... who escapes unscathered. I had a good time, but your mileage might vary given your political stance and/or your tolerance for action movies in which American military force is ultimately the best answer. (In Theaters, December 2001)

BELPHÉGOR: LE FANTÔME DU LOUVRE ([BELPHEGOR, THE GHOST OF THE LOUVRE] France, 2001, Horror): It's not because it's French that it's good. In this case, this particular take on the classic monster story is interesting because it stars the adorable Sophie Marceau and takes place in Paris, but as for the rest, well... Apart from the striking visuals, it's strictly a run-of-the-mill supernatural thriller. Possession clichés are trotted out one after another, and if the Egyptian lore is cause for a good frisson or two, those shivers remains overwhelmingly based on potential alone. BELPHÉGOR has too much visual pizzazz to be considered boring, but on the other hand it's nothing particularly striking. (On DVD, December 2002)

BLACK POINT (2001, Thriller): Hmmm: A straight-to-video thriller starring David Caruso. How less promising can a film possibly be? As it turns out, though, BLACK POINT actually holds some interest. Plot? An ex-soldier falls for the moll of a local northwestern drug lord, three million dollars pop up, betrayals ensue. There are a few fun plot twists, one amusing threat of icy lynching, a spectacular blonde heroine (Susan Haskell) and a decent pace nonetheless. Sure, the film looks cheap; the cinematography is optimized for full-frame presentation and the set designs are definitely sparse. (Plus, the town of Black Point definitely feels underpopulated.) Character-wise, it's also a dud: The hero is a hero because the film says so, the motivations of the heroine remain muddled and the bad guys aren't particularly interesting. But as long as your expectations are kept low, you just might get some enjoyment out of the whole thing. The bare-bones full-screen (yuck) DVD's most interesting feature is a series of trailers for other RemStar straight-to-video features: funny stuff! (On DVD, July 2003)

BLACK HAWK DOWN (2001, War/Action): Hollywood has the unfortunate tendency to glorify or demonize soldiers, depending on whether they're needed as heroes or villains. It's far less common to see a realistic depiction of their work and that makes BLACK HAWK DOWN even more worthwhile. There have been few rewarding post-Vietnam military movies, but this one is able to present the chaos of combat, combine it with high-adrenalin action sequences, get fancy with the artistry and go wild with the special effects. The result is a deeply impressive war film and a satisfying action flick. It does resemble a western from time to time, what with the hordes of "little brown people" attacking numerically disadvantaged Aryan heroes, but it does work quite well (and, according to the Pentagon, ranks highly on the realism). Prepare to be overwhelmed by the non-stop action, the constantly-moving camera and the aggressive sound effects. The film is not without flaws, though; the first half-hour is generally trite and conventional, the ending is a touch too pretentious and director Ridley Scott still hasn't learned how to build perfectly coherent action scenes. (Though he's learned a lot since the half-mess that was GLADIATOR) Still, BLACK HAWK DOWN is a darn good film, and the best recent representation of modern infantry combat. (In theaters, January 2002)

BLOW (2001, Crime/Biography): I believe that it's unfair to compare a film directly to another, but BLOW tries so hard to be another GOODFELLAS that -just this time- I won't be able to contain myself. Unfortunately, putting BLOW against Scorsese's 1990 film is a perfect illustration of the differences between an average hack job and a true masterpiece. BLOW at first suffers from acute averageness, as there's really no reason to get interested in the story of George Jung, an American kid who somehow ends up being one of the biggest drug dealers in the history of the United States. Sure, it's fun for a while as he collects money, cars and a trophy wife, but like a sugar rush, this soon passes to let way to Jung's downward spiral and a film that ends up hypocritically asking us to pity the poor, poor drug dealer. It's a repulsive notion, especially when that period where Jung imported "85% of the cocaine that came into the United States" is quickly glossed over with a funny thirty second clip about storing boxes of money, without any thought to the consequences of that traffic. It gets worse, as the onscreen action becomes more and more subjective, with poor George Jung being set up by police, wife and associates in the type of narrative that blames pretty much everyone but himself. The lack of depth of Penelope Cruz's character will remind you of "psycho ex-girlfriends" stories. Still, the film is adequate, with some entertaining scenes and a good performance by Paul Reubens, who looks a lot like he did in MYSTERY MEN. Of course, Johnny Depp does nothing less than great work in a role that requires him to look real bad. Still, a disappointment, a customary film and a curious attempt to redeem a character that, despite everything, remains a loser. Compare and contrast to GOODFELLAS' "Paul Hill", a winner even at the end. (In theaters, April 2001)

BRIDGET JONES'S DIARY (2001, Romance/Comedy): I'm all wrong for this type of film, but that shouldn't stop me from stating that it's quite enjoyable. No, I don't have a lot in common with Bridget Jones, a thirtyish Londoner obsessed by her alcohol consumption, smoking, weight and impending spinsterhood, but some of my colleagues do and the film plays those strings like a virtuoso. In any case, the film is executed with all the grace, good-natured charm and technical polish so typical of British-set romantic comedies produced by Americans. Better-than-average script, sympathetic characters, funny set-pieces and a happy ending ensure that no one should feel cheated. You might not want to see it, but if you catch the first five minutes, you'll be hooked until the end. There are problems, certainly; Renee Zellweger is incapable of looking anything worse than adorable, making her portrait of a plain girl a bit unbelievable. She does turn in one of her best performances yet, along with a solid Colin Firth and the ever-dependable Hugh Grant (who successfully manages to portray a real bastard without really deviating from his usual aw-shucks shtick.) The script is filled with a mind-boggling array of coincidences, unfortunately cheapening the narrative (At its worst, a trip to the convenience store ends up with something akin to "Oh, so you are the barrister of this incredibly important guy whom I'm trying to interview!") A few unfortunate shortcuts also undermine the ending, which stretches believability a bit too thinly to provide a fully satisfying ending. Still, as far as romantic comedies so, BRIDGET JONES'S DIARY is a fine one. Cheer up whenever your significant other suggests it. (In theaters, April 2001)

BUFFALO SOLDIERS (2001, Comedy): No wonder the film couldn't find much of an audience after America's new-found post-9/11 military crush! This dark satire of a peacetime army, set in 1989 Germany, is pretty vicious in its depiction of military personnel. Drugs, violence, incompetence: everything goes in an environment where nobody cares. Protagonist Joaquin Phoenix has a good turn as the cheerfully amoral protagonist, who will steal whatever he can get his hands upon, acting as an interface between the army and the local criminals. For maybe half an hour, BUFFALO SOLDIERS is irresistible fun; not terribly realistic, but well-directed with a tremendous amount of energy and careful comic touches. Then it starts sliding toward drama and never stops. The story gets darker as the laughs get sparser, culminating in a finale that tries a bit too late to wrap it up in a happy finish. It doesn't quite work: the third act is a bit of a mess, and the unevenness of tone takes away from the impact of the film. Still, there are good segments here and there, and provided you're not over-sensitive to a bit of irreverence toward the military, it's worth a look. The DVD includes some obvious EPK making-of material. (On DVD, July 2005)

CATS & DOGS (2001, Kids/Comedy): It should have been more fun than it was: A secret war between cats and dogs featuring a feline megalomaniac, pet-fu, high-tech gadgets and Jeff Goldblum as (yet again) an absent-minded scientist. Alas, the film is made for kids, and what would have been a jolly good blast ends up sugar-coated and de-fanged by the desire to offend no one. Another director might have done something remarkable with the same premise, but Lawrence Guterman simply delivers a strangely average film reminiscent of SMALL SOLDIERS in how such a boffo premise can be battered in submission. Oh, and I'm a cat-person, which probably doesn't help. The DVD includes the "bare special edition minimum" (commentary, HBO making-of, a few goodies), features a clever dual menu system but is (aaargh!) pan-and-scan. (On DVD, January 2002)

CHARLOTTE GRAY (2001, War/Drama): Whenever you get tired of loud action-packed WW2 dramas, why not go for quiet drama-packed WW2 dramas? CHARLOTTE GRAY takes a different approach to a common historical subject, almost a feminine/romantic angle as compared to the usual masculine/action focus. The incomparable Cate Blanchett plays the titular heroine, a young Scottish woman send deep behind the lines of Vichy France to liaise between the French Resistance and the English Secret Service. What follows is a long, sometimes dull, drama involving collaborators, resistance, Jewish children and Gray herself. While not overly absorbing, it's a nice change of pace from the usual war film, and it manages to build up to a credible climax. Some threads -probably inherited from the source novel- are a bit superfluous and should have been strengthened or cut entirely. The acting is fine, though purists like your reviewer would have liked it best that the characters would have spoken the appropriate languages. (Here, like in CHOCOLAT, everyone speaks British English, except for the rustic French, who speak English with a French accent... sigh...) (In theaters, March 2002)

CRAZY/BEAUTIFUL (2001, Teen Romance): My initial reaction at seeing the trailers for this film was to wonder if there was something -*anything*- in there to motivate me to go. There wasn't. Even after watching the film, I still can't see any reason to see it. As soon as you define the genre (teen romance between a rich white girl and a poor ethnic kid), you pretty much have a good idea of where and how the film is going. The only particularity is the self-destructive personality of the female lead, which gives rise to the only interesting scene of the film, a sequence where the father of the girl promises to sign the guy's military academy admission papers only if he stops seeing the girl... for the guy's own good. The film soon after reverts to true Hollywood form, complete with happy weepy ending. It doesn't help that in addition to the linear nature of the story, the film is one of the ugliest piece of cinema of the year, with "naturalistic" cinematography that just ends up looking dirty and unpleasant. A good script could have helped matter, but what we're stuck with is a simplistic clunker that charms no one. (The film's most vivid audience reaction at my screening was caused by improper framing and errant boom microphones. The biggest laugh happened after the girl says to the guy "My father's away until midnight. We is all alone!"... and they're followed by the overhead microphone.) Kirsten Dunst might be in the film for credibility points (she basically plays the antithesis of her cheerleader protagonist from BRING IT ON) but chances are that no one will remember this film in six months. (In theaters, September 2001)

THE CURSE OF THE JADE SCORPION (2001, Comedy): Now here's a good film destroyed by inappropriate casting. Hubris, even, as the miscasting in question is writer/director Woody Allen giving the protagonist role to himself. Awful choice, especially where we're to believe that he's lusted after by none other than, oh, Elizabeth Berkley, Kaili Vernoff and the divine Helen Hunt. Yikes. What, Bruce Campbell wasn't available? In any case, if you close your eyes and manage to convince yourself that this isn't Woody Allen they're lusting after, the film isn't too bad: The atmosphere successfully evokes the war-years period, and so does the witty dialogue between Hunt and Allen. Yes, the whole hypnotism shtick is profoundly silly, but never mind that: it's all in good fun. In the end, this sense of fun (oh, and the girls; I'm that shallow) is what sort of saves THE CURSE OF THE JADE SCORPION from total failure. But I can't wait until we've got the technology to replace Allen out of this picture... (On DVD, December 2002)

THE DEEP END (2001, Thriller): Is it an accident if motherhood and water are the two recurring themes of the film? Far from starring the usual stalwart single action hero, this thriller revolves around a harried single mother whose husband is away on naval duty. She is gradually drawn, in inimitably thrillerish fashion, in a series of increasingly criminal acts to protect her family... but then the menace starts to be seductive and everything goes wrong. Tilda Swinton cuts a sympathetic figure as the heroine, but even despite everything, the film feels a bit too forced, too calculated and definitely too slow even at 100 minutes. It's definitely a minimalist thriller, the type that allows a few viewers to imagine themselves is similar claustrophobic circumstances. If you've got a long attention span, fine; otherwise, be prepared for slow stretches. (In Theaters, November 2001)

DONNIE DARKO (2001, Fantasy): While I rather enjoyed this film, I'm not as enthusiastic about it than some of my esteemed fellow critics specializing in SF/Fantasy films. The main reason being that for all of its science-fictional trappings, DONNIE DARKO remains a work of fantasy, not speculative science fiction. The deliberately weird ending makes sort of a superficial sense, but doesn't actually end up completing the causal loop suggested by the film's fascination with time-travel. Still, even with that sour taste in mouth, there's a lot to recommend here, from the tortured performance of Jake Gyllenhaal as the eponymous protagonist to the delightfully twisted visuals (have you ever seen an uglier rabbit?), darkly funny passages and acerbic dialogues. (Heck, even Drew Barrymore looks positively attractive in her goth intellectual role) It's almost constantly interesting, even though the interest stems from the mystery and the mystery is simply sidelined at the end to make place for a weepy finale that is supposed to make everything seems all that much more significant. Eh. At least the rest of the film works well. The DVD contains a bunch of extras that were simply too numerous to review before it was time to return it. Don't you hate it when that happens? (On DVD, January 2004)

DON'T SAY A WORD (2001, Thriller): Every month or so, studios churn out yet another unremarkable thriller. It stays a few weeks in theaters, then has an undistinguished life in video stores. DON'T SAY A WORD is another one of those "midlist" thrillers, adequate entertainment without being in any way memorable. Oh, the performances are fine: Michael Douglas is back in a clean-cut professional's role, Famke Janssen is great eye-candy as the bed-bound wife and Brittany Murphy has a flashy role as a troubled teen. The first hour is intriguing, culminating in a good three-way escape sequence maybe thirty minutes before the end. After that, the film spins on itself and becomes increasingly sillier. Hey, it's good fun without being too bad. (In Theaters, December 2001)

DOUBLE TAKE (2001, Crime/Comedy): It doesn't take much to deliver a fun buddy crime comedy, and that's exactly what Robert Gallo does, after a laborious start, with DOUBLE TAKE. Granted, the film sank at the box-office, but once you get past the irritating opening, the film settles down as one of the twistiest fun thrillers since WILD THINGS. (It never attains the earlier film's trash-thriller brilliance, of course. The lack of sex scenes alone is enough to take it down one notch.) While Eddie Griffin can often grate, you get used to him. Orlando Jones is a star throughout, though, as he switches comfortably from a chic Wall Street businessman to a loudmouth from the projects who just wants some Malt-Liquor. This whole theme of appearance versus reality is DOUBLE TAKE's motif, given all the twists and counter-twists in the film. The film's internal logic eventually comes to make sense after many exasperated gasps from the audience, but the external plausibility (ie; why go through all the trouble?) remains highly doubtful. In any case, the filmmakers on the DVD commentary track take as much time self-congratulating themselves than discussing the film itself. But that's fine, because the film is a little surprise, a solid buddy comedy that holds up rather well to a commentary-enhanced second viewing. It grows on you. Naturally, it helps that the film stars three luscious black women, with particular nods to Garcelle Beauvais, who appears in full lingerie in one of the film's most regrettably cut scene, now included on the DVD for your viewing pleasure. Also worth viewing on the DVD: A surprisingly interesting "filmmaker's diary" making-of feature that gives a real feeling of being on a movie set. (On DVD, August 2002)

DRIVEN (2001, Action/Sport): Let's establish right away that for a racing film, the crashes are good enough. Renny Harlin is known for his action set-pieces, and DRIVEN exhibits plenty of those, in fact enough to give the film a marginal recommendation for action film fans who might be starved for some 'splodin'. Unfortunately, Harlin isn't known for the quality of the scripts he chooses to direct, and DRIVEN's vanity-project history shows through the story, which blends the worst sport clichés along with a special implausible showcase for Stallone. Few surprises, and even fewer original moments. The quick-cutting gets tiresome after the first few moments, and the consistent bad writing really grates, especially when considering the caricatures that pass off as female characters in this movie (there's a Babe, a Bitch and a Brain. Why even give'em names?) As long as you go see DRIVEN fully expecting what you're going to get (some action without much thought), you should be satisfied. (In theaters, April 2001)

ENEMY AT THE GATES (2001, War Drama): The battle for Stalingrad ranks as one of the most dramatic stories of World War 2, and it was about time for a big-budget film to be made on the subject. That it ends up starring high-powered actors like Jude Law, Joseph Fiennes and the incomparable Ed Harris is just icing on the cake. The opening sequence is gripping, as is graphically shows brand-new recruits being thrown in a battle where each side can shoot at them. The rest of the film is mostly good, though by the end an ordinary love story threatens to topple the whole film. Any other film can and does include the requisite romance, so couldn't we focus on Stalingrad some more? In any case, the images are gripping, the action scenes work well and while the cat-and-mouse game between opposing snipers could have been more focused, there's enough of it to be satisfying. A good film made less special by a tacked-upon romance, ENEMY AT THE GATES still stands as the first good film of 2001. (In Theaters, March 2001)

EL ESPINAZO DEL DIABLO (aka THE DEVIL'S BACKBONE, Spain/Mexico, 2001, Horror): Cool little historical ghost story that may take a second viewing to fully appreciate. While the pacing may be slower than usual for a horror film, the strength and interest of the characters, coupled with some really good direction and cinematography, is more than than enough to make this a quirky little gem. A ghost story where the ghosts are victims and the real monsters aren't ghosts, THE DEVIL'S BACKBONE takes us back to an orphanage during the Spanish Civil War: But don't worry; this isn't a lesson in politics, and the relationships between the kids and adults abandoned in the middle of the Spanish desert soon grab our interest. The DVD will do wonders to enhance your enjoyment of the film, as it features a wonderful English-language commentary track with director Guillermo del Toro. His passion for the material clearly shows, and his explanations of the material (whose symbolism and setting may be unfamiliar to contemporary American audiences) are well worth listening to. Good little unpretentious horror film, with plenty of neat touches. Maybe a little slow, but well worth an attentive viewing or two. (On DVD, May 2003)

EVOLUTION (2001, SF/Comedy): We live in an amazing age, where cutting-edge effects can be produced cheaply and inserted in a film that is so slight. Oh, don't worry; you'll laugh, giggle and smile during most of EVOLUTION, but trust me, it will leave an empty feeling in your head soon afterward. The problem is how easy the film feels. No effort seems to have been put in the script, the acting nor the direction. (The special effects people worked until they fell asleep over their workstations, though.) All the jokes are obvious and laboriously set-up. A large splattering of vulgar humor covers the film like an oily sheen, making it less than commendable for family audiences while there was no real reason to go gross-out on us. At least the actors look as if they're having fun; David Duchovny gets to crack a few smiles, Seann William Scott still looks like a sympathetic doofus (Dude, where's your car? Oh, right; blown away by a meteor) and Julianne Moore's character is an excellent antidote for everyone who hated her in MAGNOLIA or BOOGIE NIGHTS. One of the film's few bright spot is a cameo by Sarah Silverman—though her site makes reference to another deleted scene. There's a good action scene inside a mall. On the other hand, you'll shake you head at the sorry science exhibited here. Oh well. There's enough eye-candy here to make it worth a cheap rental at the very least. (In Theaters, June 2001)

EXIT WOUNDS (2001, Crime/Action): Well, I really didn't expect that: One of Steven Seagal's best films. No, we're still not talking about compelling drama or even moderate originality: this remains an action B-movie, but a really enjoyable one. (There's even a touch of fun in seeing all of the expected plot developments taking place.) The direction is snappy and moderately dynamic, the plot mechanics are amusing and the man Seagal allows himself some latitude. The result won't knock the socks off anyone, but constitutes a decent cheap rental. (In theaters, May 2001)

L'EXPÉRIENCE (aka DAS EXPERIMENT, Germany, 2001, Thriller): Small-scale, high-tension thriller loosely adapted from a real-life psychology experiment conducted in the sixties in which randomly-picked students were assigned "guard" and "prisoner" roles. The real-life experiment was scheduled to run two weeks and was stopped after six days out of concern for the participant's mental stability. This fictionalized version, of course, is much worse and ends with a body count. While the film is low-budget, it's exceedingly well-done with a real visual flair. The "scientific rigor" of the experiment's handlers is laughable, but let's not ask questions as long as it leads to some drama. And there's plenty of drama here, mostly sparking from a smart-alexy protagonist who's got a really good reason to cause mischief and a Hitler-haired antagonist who comes to use his position as a guard to let loose with his sadistic tendencies. It escalates, engulfs the rest of the participants and even spills in "the real world". Good stuff! It's a shame that this film won't get a wider distribution, because it's actually provocative, nightmarish and gripping. Destined to a certain cult following, much in the same way than the not-dissimilar CUBE did. But even with the unsatisfactory coda, DAS EXPERIMENT fares better as a psychological thriller. This film should prove to be of special interest to psychology students and fans of claustrophobic suspense. (Seen in French) (In theaters, October 2002)

EXTREME HEIST (aka WICKED GAME, 2001, Action): Now here's a real curiosity: On one hand, this straight-to-video release is in many way the most horrible thing you've ever seen passed as a putative "movie": muddy digital film quality, dumb plotting and some of the worst acting you're ever likely to see. (No joke nor hyperbole! Motoko Nagino is one hot Asian lady, but her line delivery is atrocious!) And yet, despite the micro-budget, the movie periodically erupts in a flurry of eye-popping stunts and cool action sequences. In many ways, this is a lot like an American early-Jackie Chan film, a comparison made easy by the raw, goofy charm of lead actor Johnny Yong Bosch. Intricate fight scenes, heart-stopping stunt driving and a nifty parachute climax pepper the inane plot like so many unexpected goodies. In this case, even the micro-budget becomes an advantage, as there's scarcely any place for CGI trickery, stunt doubles or fancy camera angles; everything feels dangerously real. (One standout shot has a protagonist hanging on top of a crashing car, inside a shack, hitting his head against a low wood beam! Ow!) As the film advances, it becomes clear that this is practically a stunt demo reel, strung together by a small crew in order to gain experience and have some fun. Considered this way, EXTREME HEIST is far more sympathetic, a little unpretentious movie that does because it can. Heck, considered this way I might even recommend that you take a look. The DVD edition is marred by an awful digital transfer and contains no special features: a real shame considering the making-of story that must lie behind the film! (On DVD, July 2003)

LE FABULEUX DESTIN D'AMÉLIE POULAIN (aka AMÉLIE FROM MONTMARTRE, France, 2001, Romance/Comedy): Who can believe that the director of ALIEN RESURRECTION would follow it up with a whimsical romantic comedy? You pretty much have to see it to believe it, and that's doubly true for AMELIE, a film whose appeal can hardly be stated in mere words. The first fifteen minutes are, sylistically, a blend of FIGHT CLUB and RUN LOLA RUN—high praise indeed! It's a story about nothing and everything, or more specifically about the gradual awakening of a very special girl to the world at large; how she relates to it and how she decides to act on it. Alas, the film then becomes yet another sappy romantic comedy, a good one but a sappy romantic comedy nonetheless, complete with a happy-ever-after shot that seems somewhat of a let-down in the context of the overall piece. The confused theme of the film is also slightly annoying, as if the film flits from one idea to another without central resolution or meaning. But that's being overly harsh on a completely delightful film whose nature is perfectly represented by the astonishing direction of Jean-Pierre Jeunet. You may see it a modern urban fantasy if you wish, especially with the variety of slightly-fantastical effects used to tell the story. A good date movie, especially if yours happen to love dissecting a film's thematic core. (In theaters, January 2002)

LE FABULEUX DESTIN D'AMÉLIE POULAIN (aka AMÉLIE, France, 2001, Comedy): I think that I like this film even more the second time around. Now that's I'm not expecting an ending more original than the abrupt (and unusually sappy) and-they-lived-happily-ever-after, now that I see the fable quality of the whole tale, now that I'm not too bothered by the inconsistent character traits, well... AMELIE flows better. The two-disks French R1 DVD release is filled with goodies, the best being a wonderful French-language commentary with director Jean-Pierre Jeunet. Equally concerned by technical details, story points, actors' performances and filmmaking anecdotes, the commentary is a joy to watch, especially once you realize that Jeunet is as big a DVD geek as the most obsessive of us; he knows what viewers want to hear about, and he delivers. It helps that the DVD is being released long enough after the film theater run that there is some perspective on the critical reaction to the movie. Other DVD highlights include a funny making-of segment and some oddball features. (Second Viewing, On DVD, June 2002)

THE FAST AND THE FURIOUS (2001, Action): Yes! After a diet of pretentious pseudo-profound cinema and ultra-hyped moronic flicks aimed at retarded teens, it's such a relief to find a honest B-movie that fully acknowledge what it is. If you like cars, you'll go bonkers over THE FAST AND THE FURIOUS, one of the most enjoyable popcorn film seen so far in 2001. The plot structure is stolen almost beat-for-beat from POINT BREAK, which should allow you to relax and concentrate on the driving scenes. There aren't quite enough of those, but what's there on the screen is so much better than recent car-flick predecessors like GONE IN SIXTY SECONDS and DRIVEN that director Rob Cohen can now justifiably park in the space formerly reserved for Dominic Sena and Renny Harlin. The film's not without problems, but at least they're so basic that they're almost added features. The protagonist is supposed to be played by Paul Walker, but don't worry; bland blond-boy gets each and every one of his scenes stolen by ascending superstar Vin Diesel, whose screen presence is of a rare distinction. Feminists will howl over the retrograde place of women in the film, but even wannabee-sensitive-guys like me will be indulgent and revel in the uber-babe factor exhibited by Jordana Brewster and Michelle Rodriguez—not to mention the other obligatory car-babes kissing each other. Despite the disappointing lack of racing in the first half, there is a pair of great action sequences by the end, the best involving a botched robbery attempt on a rig with an armed driver. That scene hurts, okay? I still would have loved a better ending, but otherwise, don't hesitate and rush to THE FAST AND THE FURIOUS if you're looking for a good, fun B-movie. (In Theaters, June 2001)

THE FAST AND THE FURIOUS (2001, Action): There isn't much to that film, if you look closely; three or four action scenes, conventional plotting, a few hot young actors and that's it. But once again in B-movie-land, it all depends on the execution. Here, the young actors are really hot (from Walker to Diesel to Brewster to Rodriguez), the direction is unobtrusive enough and the film is infused with a love of speed that manages to make all quibbles insignificant. The ending is still problematic, with all its unresolved plot-lines, but the film holds up very well to another viewing. The DVD includes an amusing director's commentary, deleted scenes (some good, some less. Unfortunately, the director once refers to an alternate ending that's not included), a rather good making-of, three rather bad music videos and a bunch of other stuff. (Second viewing, March 2002, On DVD)

FEDERAL PROTECTION (2001, Thriller): Flashback alert! What does a movie about a federally-protected ex-hitman moving in a quiet suburban neighbourhood remind you of? Yes, that's right, THE WHOLE NINE YARD. This straight-to-video film not only replays the same basic idea, but also does so in Montréal, which here unconvincingly stands-in for "Little Rock, Arkansas". (No amount of American flags and lone US-Post mailboxes can hide the characteristic architecture, Canadian money and equally-lone Canada Post mailboxes) Armand Assante is the "Bruce Willis" of this film, though the character dynamics beyond that change a lot: Here, he seduces the neighbour's wife while her husband is in cahoots with his mistress to reveal Assante's location to the mob. Yes, it really sounds like a rip-off, but it's executed with some competence and the result is a great deal more interesting than you'd expect from such a premise. Dina Meyer is frequently hot as the mistress and Assante does a lot to help the film's credibility. Also notable is the film's intention to play most of the story straight, with only occasional comedic moments. The finale is far too long, the budget is limited, some of the tone shifts are uncomfortable and the "ripoff!" impulse never goes away, but it's a decent enough film, better than some of the worst things I've seen in theatres this year. The DVD contains no special features of note. (On DVD, July 2003)

FINAL FANTASY: THE SPIRITS WITHIN (2001, Science-Fiction): There is no doubt that this is a must-see film, though you'd be advised to remember that this in no way implies a particularly enjoyable movie. To re-state the obvious; yes, this is the first feature-length computer-animated film to attempt full photo-realism, especially when depicting human characters. Again, to re-state the obvious: no, it's not undistinguishable from your living, breathing actors. But it comes close, and that's why FINAL FANTASY is such a landmark. Had the animation been slightly more stylized, there would be no end to the technical praise; as it stands now, however, it's so close, and yet so far, from full photo-realism that your pattern-recognition mechanism might temporarily balk at what you're seeing. At least visually, the film makes full usage of its capabilities, depicting ruined cities, deserted wastelands and other areas hugely expensive to re-create practically. It's a shame, though, that the overall palette of the film is so... bland and ugly. Believe me, you'll thirst for non-LED green after a while. There is some amount of visual clutter too, almost as if the animators spent too much time cramming each frame with cool effects. Still, the film's technical aspects will hold your interest for its whole duration, which is fortunate given the paucity of the story running the engine. You might have TITAN AE flashbacks. Viewers approaching FINAL FANTASY as an SF film that happens to be animated will have a harder time at digesting the story than those who watch it knowing fully that FINAL FANTASY is a Japanese anime film that happens to be computer-generated. (The final minutes, for instance, are pure-anime mumbo-jumbo-mystical-sacrifice, entirely logical within the conventions of anime, but harder to grasp outside the genre.) See it, if only as a harbinger of things to come in a very few years. (In theaters, July 2001)

THE FORSAKEN (2001, Horror): Once in a while, it's just good enough to hang back and enjoy a good old-fashioned B-grade horror film. In THE FORSAKEN's case, not thirty seconds passes before we're treated to the sight of a naked woman graphically showering off blood from her body. Say no more, make no excuses; this film is a throwback to the good old days of the early eighties, where horror films weren't self-referentials, and there was enough female nudity to excuse even the biggest plot holes. You won't find much originality is THE FORSAKEN's bland vampire premise, but it's all done in unassuming fun, with car chases, bitten victims searching for their cure and shotgun decapitations in glorious cheap grainy dark cinematography. You might wonder how an immortal can be so stupid, but don't worry; this is exactly the type of stupid objection that makes the film so much fun. For connoisseurs of horror films, and fans of pleasantly bad one. (In theaters, April 2001)

FREDDY GOT FINGERED (2001, Comedy): Let us be perfectly candid from the onset and declare this the worst film of 2001. No argument, no competition: Any professional reviewer (and the vast majority of casual viewers) will agree that FREDDY GOT FINGERED has managed to attain a new abyss of bad taste, incoherent plotting, gratuitous gross-out gags and stupid humor. (Only the unintentional atrocity of BATTLEFIELD EARTH makes it a worse film than FREDDY GOT FINGERED.) This movie works hard at pissing you off. Don't be surprised if you stop watching midway through. And yet... and yet... This very intentional drive to produce the vilest film of the year in some sick way make it a recommended rental for everyone with the willingness and the stomach to face such an experience. Writer/Director/Star Tom Green has slipped the ultimate bad film out of the gates of the studio, probably earning him an exile from Hollywood but also producing a real curio in the process. Call it awful or atrocious, FREDDY GOT FINGERED rates as an "interesting film" on the orthogonal scale. It's impossible to like, but not inconceivable to admire. (In theaters, July 2001)

FROM HELL (2001, Crime Drama): It's obvious early on that this won't be simply a forgettable slasher film: For one thing, it focuses on a historically-accurate representation of the grisly "Jack the Ripper" murders of 1888. For another, the visual polish of the production with its blood-red skies, suggestive violence and gritty realism takes it a full step above the cookie-cutter approach taken by so many horror films. Alas, the film tricks us into paying attention only to betray its initial promise by a ho-hum story hampered by several annoying details. Johnny Depp, for instance, is rather good as inspector Abberline, but he doesn't achieve anything spectacular with it. It's a CHOCOLAT impact with a SLEEPY HOLLOW character; he's easily upstaged by Robbie Coltrane. (But then again, Coltrane does that to everyone). Heather Graham is pretty, too flawlessly pretty compared to the other prostitutes in the film. The film shows obvious signs of adaptation difficulties: The psychic visions of Abberline are entirely superfluous, and the signature line of the film ("Some will say I gave rise to the twentieth century") makes no sense if you don't know about the original graphic novel. It doesn't help, either, that the suspect is obvious early on and that the final "twist" is painfully drawn-out. A shame, really, because the rest is pretty good. You won't confuse the directing style with Tim Burton's because Burton is far more polished, but it's distinctive nonetheless. An interesting rental, especially if you're interested in Ripper lore. (In theaters, October 2001)

GHOST WORLD (2001, Drama): It is a false dichotomy to separate art and entertainment, but it's true to say that a very personal work of art can work very well on some people and not at all on others. That's the case with GHOST WORLD, a film of unarguable artistic ambition that simply didn't appeal too much to me, much like RUSHMORE or AMERICAN BEAUTY. It's not a bad film per se, but I found myself strangely unaffected by it all. At some point, I really thought the film has something to say about how cheap cynicism is nothing but artificial detachment—but that might be a case of imposing my own pet peeves on another work. Suffice to say that I'm neither a teenage girl not a middle-aged geek (yet), so any appeal a relationship between these two archetypes might have didn't reach me. The non-conclusive nature of the ending also bothered my neat Cartesian mind. While some individual scenes are hilarious (the cinema stint, for instance), the rest of the film is more uncomfortable than interesting. At least Thora Birch's performance is less annoying than in DUNGEONS AND DRAGONS. (In theaters, October 2001)

GHOSTS OF MARS (2001, Science-Fiction): You know, it might be heresy to say so, but aside from 1995's IN THE MOUTH OF MADNESS (the finest Lovecraft story ever filmed), I don't think I've ever truly enjoyed all of a John Carpenter film. While his B-movies sensibilities make him a fan favorite, they're also an impediment to technical polish and sophisticated entertainment. GHOSTS OF MARS is a step down from even the lackluster VAMPIRES: While the opening credit sequence and the final minute are all quite good, what's in between barely registers on the interest scale. Did we truly need another zombie story, especially if it's brought forth so -you'll excuse the pun- lifelessly? There is nary a chill in the vision of KISS-like undead rampaging through a Martian town. Heck, there isn't even a chuckle to be found in this wasteland. I tried to care, I really did... but in the end, this ugly, boring, meaningless film simply refuses to be liked. Repeat after me: Waste. Of. Time. (In theaters, August 2001)

GOSFORD PARK (2001, Crime/Drama): From the plot description (In 1932 England, a rich industrialist is killed during a weekend-long hunting party), you might come to expect a comfortable murder mystery à la Agatha Christie. Robert Altman films are rarely about plot, however, and this one is quick to redirect our attention toward the real underpinning of these murder mysteries and in doing so illuminates some of the hidden engines of the genre. GOSFORD PARK shows us, in detail, the divisions between servants and masters, and the small-army logistics of maintaining a small manor. Well before any crime is committed, we suddenly realise that the hoariest cliché of the genre, "the butler did it!", is nothing short of a panicked cry of social despair from the aristocracy; not only are the commoners getting uppity, but they're also killing the rich! Altman piles detail upon detail, with a Hollywood film producer, a bumbling police inspector, a clever servant girl, an impostor in both worlds, hints of scandals and lots more. It adds up to a long and quiet film, but a curiously entertaining one, with good performances all around. (Watch Clive Owen, and try not to imagine him as James Bond.) It's much more than a murder mystery, especially given that the mystery isn't that hard to solve. (In theaters, January 2002)

HANNIBAL (2001, Horror): I have always suspected that Thomas Harris' Hannibal was a practical joke played by the reclusive author on the too-rabid fans of THE SILENCE OF THE LAMBS. Grotesquely overblown with flamboyantly evil characters, it seemed to thoroughly pervert the character of Clarice Starling, laugh at the readers' expectations of gory horror while overwhelming them with an exasperating array of meticulously-researched details. The film doesn't appear to be as bad, but it's still kind of a dark comedy when you look at it from a detached point of view. On some levels, it plays a lot like the most expensive, most pretentious splatter-film ever made: the quality of the visuals and the acting effectively masks a story that comes straight out of a "Weird Tale" pulp story. Director Ridley Scott uses all sorts of tricks to make everyone look better than the material... and it works! Julianne Moore is a respectable replacement for the decade-older Clarice, and Anthony Hopkins looks as if he's having some fun as the evil Lecter. The over-the-top final scene is effective in a Grand Guignol kind of way, being blackly amusing even as it's repulsive. All in all, the film works much better than I would have expected, if only for the technical polish: It's may very well be garbage, but it's impeccable garbage. (On DVD, October 2002)

HARRY POTTER AND THE PHILOSOPHER'S STONE (2001, Fantasy): Is it possible for a movie to be too faithful to the original novel? It's tempting to say so while watching this first film in the HARRY POTTER series as the second half of the film sinks in indulgent pacing and gratuitous scenes. Indeed, the film seldom exhibits signs of snappiness or extreme originality; it's leisurely, even conventional in pure fantasy terms. Avid fantasy readers will have "seen" all of this before. But don't let the above deter you from considering HARRY POTTER 1 to be one of the best films of 2001: The technical professionalism, good dialogue and acting talent of the film more than make up for any deficiencies, and the result is a long, conventional but very good film. It's mind candy almost all the way through! Particular recognition goes to acting wizard Robbie Coltrane as Hagrid, and newcomer Emma Watson as the irresistible Hermione. In a year where most blockbusters have fallen flat on their faces (PEARL HARBOR, TOMB RAIDER, PLANET OF THE APES, etc.), this is one hyper-hyped movie event that really does deliver. (In Theaters, November 2001)

HEDWIG AND THE ANGRY INCH (2001, Musical): It's unfortunate that my interest for (trans)gender issues is almost precisely equal to zero and that my musical tastes are more driven toward hard rock and dance-electronica. Because, frankly, I didn't go nuts for this musical about a transsexual soft-rock singer. Oh, it's not devoid of amusing moments and cute sight gags, but there's just not much there to interest me. As the film progresses, curiosity takes a back seat to ennui as the film slows down and finally turn out a gratuitously symbolic finale. Your mileage will undoubtedly vary. The DVD contains stuff like a making-of and a director's commentary, but I couldn't be bothered to watch any more of it. Eh. Go figure. (On DVD, October 2002)

HEIST (2001, Crime/Drama): David Mamet can be frustrating or entertaining, but with HEIST, the emphasis is on the entertainment. 2001 has seen at least three movies about professional robbers, and HEIST ends up being the film that THE SCORE and OCEAN'S ELEVEN so desperately tried to be. Crackling dialogue, well-defined characters and constant plot twists will bring a smile to your lips even as you recognize the usual "caper-film" structure. It all adds up to an entertaining package. It's as gratuitously convoluted as Mamet's previous THE SPANISH PRISONER, but not as annoying: you'll hardly mind as the onscreen action unfolds in a way that would be impossible out of movies. The beauty and satisfaction of HEIST over comparable movies comes mostly from the various array of clever tricks used by the thieves to con everyone including themselves. Twists, twists, twists, up to and including the final seconds. Don't make any mistake; this isn't a particularly noteworthy or particularly heart-felt film: you'll recognize the mechanics and the calculations. But never mind; HEIST is so entertaining that it would be a crime to dislike it. (In Theaters, November 2001)

IN THE BEDROOM (2001, Drama) is another one of those "actor's movies", focusing more on intimate drama than out-and-out conflict. Here, sharp words have the emotional impact of a nuclear detonation. Bad things happen to ordinary people, and the film essentially follows the consequence of the resulting grief. It's long and leisurely paced, which occasionally helps in getting in the characters' mind, and occasionally hinders as nothing seems to happen for a long, long time. The title promises a touch of voyeurism, and indeed we get tight close-ups, revealing character traits and an emphasis on so-called normality. While the film may initially seem disconnected and sloppy, closer attention reveals a superior depth of background information and many clever touches. (One of the best being a framed photo of a lawyer, his wife and their dogs leading to a devastating "You don't!" reply. Blink and you'll miss it.) But even being generous doesn't mitigate the overall blahness of the film, which plays things so low-key that they risk being invisible. Marisa Tomei turns in a good performance, but seemingly disappears from the narrative during the last quarter. It's a good family drama, but most viewers already suspect the limits of that genre. (In Theaters, February 2002)

JASON X (2001, Science-Fiction/Horror): After two years on the shelves, the latest installment of the FRIDAY THE THIRTEENTH series is finally unleashed in theaters, with a title change and what I guess is an attitude change. After years of derivative knocks-offs, JASON X offers something (slightly) new; a rampaging serial killer... in spaaace! Well, okay, it's not new after HELLRAISER: BLOODLINE and LEPRECHAUN 4: IN SPACE, but it's certainly a step more original than anything the series has had to offer before. Alas, the irritating porn-like slasher film structure is still left untouched. But the film exhibits an amusing self-awareness ("Do you want to have pre-marital sex? We love pre-marital sex!") and even (gasp) some degree of SF literacy (take your pick; cryogenic death, nanotechnology or a funny riff on the whole ALIEN/TERMINATOR concept). For us guys, it's a shame that three of the lead actresses look alike and that, alas, the nudity is limited to a few all-too-brief seconds. Even though I generally loathe that type of horror film, I found a few things to like in JASON X, enough to generally enjoy myself for the duration of the film. It's no classic, but it may be worth a look. (In Theaters, June 2002)

JAY AND SILENT BOB STRIKE BACK (2001, Comedy): Non-Kevin Smith-fans probably shouldn't even bother watching this fifth film in the Viewaskew Universe. Not only do it feature cameo bits from nearly everyone in the first four Smith films, but it also plays heavily upon the elements that made the series so endearing to fans and repulsive to others. A Road Trip film at heart, JAY AND SILENT BOB STRIKE BACK is easily of the funniest films of the year, boldly skewering Internet fandom, Smith's own films, PLANET OF THE APES, homophobic rhetoric and a laundry list of element to numerous to contemplate here. Harsh language, off-color gags, simple stupidity and a lot of pantomime: it's all there and more. There are annoyances beyond the usual Smith quirks, though: The film slows down considerably whenever there's a monkey on-screen (a usual sign of creative bankruptcy, if you ask me) and that also includes Will Ferrell, completely unlikable here. There's also an annoyance related to the Silent Bob character: In Smith's first films, Silent Bob was silent because he didn't need to talk; Jay handled the talking. He wasn't this buffoon-like character gesticulating madly or overreacting at every gag. But, never mind that, Smith fans will love this final send-off to their beloved characters. Be sure to stay for the credits (always interesting to read) as in the charming post-credit clip, God herself closes the book on the Viewaskew Universe. (In theaters, August 2001)

JESUS CHRIST VAMPIRE HUNTER (2001, Comedy): As an Ottawa-born cinephile, I have a duty to be indulgent about any hometown product. And there's a lot to be indulgent about with this nano-budget film (think BLAIR WITCH PROJECT, except even lower) shot on 16mm film. Blurry image, atrocious looping, unpolished editing, bad acting... it just goes on. Cheap to the point where the title graphics look better than the rest of the film. The sound is especially bad in a movie theater, though home viewers won't have to struggle as much to hear what's being said on-screen. If you look past the flaws, however, there's a lot to like in JESUS CHRIST VAMPIRE HUNTER. The weird sense of humor is the film's biggest selling point, from the premise implied in the title, to the opening MacGuffin (someone's killing all the lesbians in the Ottawa area! Edge festival threatened!) to the use of Mexican wrestler Santos as a main character—along with an unexplainably amusing sexual harassment joke involving his assistant. But beyond that, look even closer and you'll find some compelling fight choreography (!) with an imagination rivaling Jackie Chan's usual antics. The musical numbers are also pretty enjoyable ("It's okay/it's all right/Everybody gets laid tonight") despite the lousy sound, and even feature local-area bands. Storywise, it holds together as well as other kung-fu films, even though the end Jesus/Doctor battle is somewhat too tasteless to my liking. I'm still not sure if I'd recommend the film to anyone else, but I had some fun watching it, Ottawa scenery or not. (In theaters, August 2001)

JIMMY NEUTRON: BOY GENIUS (2001, SF/Comedy): Kid's movie, kid's shmoovie: JIMMY NEUTRON packs more cool ideas in barely 90 minutes than all other SF films of 2001 together. Not only that, but it's half the length of A.I. and considerably more fun. Granted, it's a silly comedy, but don't let that fool you into thinking that it's not clever: Watch for the hilarious BLAIR WITCH PROJECT reference, and the seamless STAR TREK joke. Jimmy is an enormously sympathetic character, and so are the supporting characters. (Even "the bad kid" gets a few endearing moments or two; watch the end reunion with the parents.) Best of all, JIMMY NEUTRON is good clean fun, with only one or two innocuous toilet-humor jokes through it all. Even though the garish colors and the simplistic models aren't as detailed as the Pixar films, they create a lovely style that greatly benefit the film. Kudos to the artists -animators and screenwriters alike-, because the result is a wonderful little film that kept me grinning throughout. Splendid! (In Theaters, December 2001)

JOE DIRT (2001, Comedy): Ay. Hard to know where to begin with this one. Was it the fact that David Spade's brand of sarcasm was nowhere to be found? Or maybe the lack of funny material? The inane plot development that wouldn't impress a twelve-year-old? The preachy sugary ending tagged on as an afterthought? The moronic romance? The anecdotal structure that's a sorry excuse for plot development? The flat performance by Dennis Miller? The awful bad-guy character played by Kid Rock? The fact that I didn't really laugh once? No! No! I know! It's the total waste of Christopher Walken, and the false promise of his scenes, which momentarily lift this film in not-so-bad territory, only to kill us later as the rest of the film sinks to ever-lower levels of rot! There we go! (In Theaters, June 2001)

JOSIE AND THE PUSSYCATS (2001, Musical Comedy): At its worst, this film features a bland romance, trite situations and a cliché music-group-film structure that will leave you indifferent. At its best, however, we get roughly the equivalent of a live-action Simpsons episode, with clever sight gags, off-the-wall plot developments, meta-fictional jokes and a subversive anti-commercialistic message that will make you blink twice in audacity. Unfortunately, not everything gels together: While the film preaches a rejection of labels and trends, it pushes so many brand names -in an unabashed in-your-face fashion- that the joke sours to the point where we're never too sure if they mean it or not. There is a place for fake (even parodic) brands, and this film was it. Fortunately, I'm such an easily-swayed guy that the three lead actresses' babe quotient was enough to make me rush out buy the soundtrack. (In Theaters, June 2001)

JOY RIDE (2001, Thriller): "Teen thrillers" are, nowadays, little more than marketing exercises, usually casting young stars from TV shows in order to service an unimaginative script helmed by a barely-competent director. The clearance shelves of every video store are filled with the results: I STILL KNOW WHAT YOU DID LAST SUMMER, THE IN CROWD, ANTITRUST, etc... In this context comes JOY RIDE, a teen thriller that's not without similarities with other members of the breed, but that at least manages to be better than average. Not a lot of that quality comes from the acting, though: Paul Walker is fine but bland and Leelee Sobieski looks cute but bored, though Steve Zahn continues to excel in otherwise average roles (see OUT OF SIGHT, etc.) The first half of JOY RIDE is strictly routine, as two idiot teens make a mistake and pay for it. The fun begins as the tale twists slightly and then some more; nothing to make the jaded viewer scream out "Genius!", but enough to keep the tension going effectively. That tension, carefully milked by a director who knows what he's doing, is ultimately what keeps the film from sliding into silliness as the going-ons get progressively more unlikely. Once again, the unseen antagonist proves to be nearly-omniscient and quasi-omnipotent against all common sense. There's not much identification with the characters, but at least the film succeeds in keeping our interest. As suggested previously, that alone places it as an above-average teen thriller. (In theaters, October 2001)

JURASSIC PARK III (2001, Action/Adventure): The first JURASSIC PARK was an action-adventure classic. The second was the epitome of the well-directed stupid blockbuster, with insanely enjoyable highs (the plate-window sequence) and jaw-droppingly bad lows (the gymnastic sequence). The third one, thankfully, is far more consistent, even though in the end it feels simply like a competent adventure film. Once again, idiot capitalist characters make a mistake and are stuck on a dino-infested island. This time, it's Sam Neil who's back as the crusty paleontologist Allen Grant. (There's a funny scene in which his lecture is packed... but everyone wants to ask him about the events of the first two films.) Though deception, flattery and other usual tools of adventure scripts, he's soon back on the island and he doesn't like it one bit. As well he shouldn't, given that he's soon once again running for his life. Hey, you've seen this film before and the only things of interest are the action set-pieces, right? Well, they're good. Not great, mind you, but good enough to make you enjoy the film in a monster B-movie kind of way. Pop-corn, air-conditioning, human-eating monsters.... this kind of fun. Could have been better if more characters could have died (especially the annoying ones), but then again we have to "think about the children!" Worth a rental as long as you expect more of the same. (In theaters, July 2001)

JURASSIC PARK 3 (2001, Adventure): Given the straight-up action/adventure focus of this third JURASSIC PARK epic, it's not a surprise if the DVD of the film spends almost all of its allotted bonus space talking about the special effects. The commentary track is especially bad, what with a half-dozen effects geeks discussing ad nauseam how this or this particular shot did or didn't contain puppets or computer-generated dinosaurs. It gets tiresome very quickly, even for die-hard effects fans like me. It doesn't help, naturally, that a lot of the information is repeated from segment to segment. The rest of the DVD is a lot like more of the same over and over again; wouldn't it have been easier to just schlep everything in one single making-of? (Don't miss browsing the "posters mock-up" gallery, though, as it suggests a series of far more interesting JURRASIC PARK III projects.) As for the film itself, well, it remains an average adventure B-movie. People. Dinos. What else do you want? Well, okay; a higher body-count. (Second viewing, On DVD, May 2002)

KISSING JESSICA STEIN (2001, Comedy): A plot summary of this film reads like a full bingo-card of things I generally don't really care to see: It's an independent romantic comedy in which a Jewish New-Yorker career woman -tired of meaningless dating- falls in love with another girl, an artist who will make our heroine realize who she truly is. Awww. What I didn't expect is how adorable Jessica Stein would be (she's played by co-writer Jennifer Westfeldt, and you'd better remember that name!), how witty the script is and how I got so genuinely interested in the overall story. There isn't too much in terms of sexual politics here, and people on both sides are likely to find fault with the film if they really want to. (In many ways, it's a coming-of-age story more than a romantic comedy about Jews, lesbians or whatevers) New York really shines here; there aren't any landmarks shots, but the street-level cinematography gives a better feel for the real city than any of the other blockbuster New-York films I recall seeing recently. (Well, okay, maybe at the exception of KEEPING THE FAITH). The wonderful script is literate and unusually adept at defining its characters. Finding KISSING JESSICA STEIN might be a challenge at your local video store, but it's well worth the effort. Even if you don't think you'll enjoy it, hey, you just might. (In Theaters, May 2002)

KISS OF THE DRAGON (2001, Action): It was midway through the film, when it became clear that it wasn't going to get any better, that I started musing about meta-text and contextual expectations. Granted, working with an English major colleague has warped my fragile little mind in ways I won't soon be able to analyze, but KISS OF THE DRAGON is such a switch from the usual martial arts fare that it got my critical mind in gear. Most American martial arts fans are weaned on Jackie Chan films, which present martial arts as an acrobatic, amusing choreography. To that, add what I call the American-action-movie-aesthetics, all glossy bloodless movement filmed in glorious hues and carefully sweaty heroes. Heroes are virtuous, heroines are admirable and villains possess a certain evil dignity. Then compare and contrast European aesthetics, with their claustrophobic settings, accidental grime and dripping locations. Sure, our hero Jet Li is as noble as ever, but his awful haircut is an indicator of how unpleasant the rest of the film is: gory fights, a drug-addicted prostitute heroine (Bridget Fonda, blah), uncomfortable settings... at least Tcheky Karyo brings a certain poise to his antagonist. If you want to generous, you can point at a few fun action sequences and argue that this is the best European martial-arts film yet. Unfortunately, the rest of the film plays like too many of those late-night action B-movies with the added disadvantage of being actively unpleasant. Say whatever you want about PG-rated Jackie Chan films or Bruckheimer glossy blockbusters, but at least they don't actively work at being repulsive. Now, is that a failure of the film or the viewer? Hmmm. (In theaters, July 2001)

A KNIGHT'S TALE (2001, Action/Romance): Sometimes, good old-fashioned entertainment is all you need. There isn't anything particularly new or innovative in this medieval jousting sports drama/romance, but it does what it has to do quite well. Heath Ledger aptly carries the whole film on his shoulders, but he's helped considerably by the presence of capable character actors, most notably Paul Bettany as "the" Geoffrey Chaucer and Shannyn Sossamon in her debut role. (Her resemblance to Angelina Jolie is astonishing, but she doesn't get the chance to show much range in this typical romantic role.) The script is adequately written, with moments that actually improve on subsequent viewings. The jousting scenes are deservedly spectacular, giving us an idea of what it must have looked like to medieval audiences. Much has been said about the anachronistic use of pop music in the film's soundtrack, but when all is sung, it seems almost a shame that more such fun touches haven't been used. Then again, A KNIGHT'S TALE successfully walks a fine line between unabashed contemporary entertainment and reasonably convincing historical re-creation. In any case, few will be left disappointed by this joyfully entertaining film. The DVD offers everything you could be looking for; information on the stunts, some historical background, a few worthwhile deleted scenes and a hilarious self-depreciating commentary by director/writer Brian Helgeland and co-star Bettany. (On DVD, May 2002)

K-PAX (2001, Drama/SF): I like Kevin Spacey, but ever since he's had his Oscar, he's been making strange choices. I mean... PAY IT FORWARD? Now comes K-PAX, another one of those sugary dramatic treats that Hollywood does so well. Think ONE FLEW OVER THE CUCKOO'S NEST. Think about that alien-comments-on-humans STARMAN shtick we've seen so many time before. Think mental-patients-are-really-sane- in-an-insane-world cliché claptrap. Better yet; don't think, because the film bends over backward trying to make damn sure that there's no logical solution to the problem it poses. It first tries to set up the alien hypothesis, then -through an atrociously convoluted "hypnosis" sequence- tries to build the "crazy guy" hypothesis. Naturally, by the end, we have convincing proof of both, and at the same time of neither. The film is really a showcase for Spacey (who, it is true, is rather enjoyable in the first half of the film) but beyond that, there isn't much to like. Sure, the directing is efficient and Jeff Bridges is all right, but for those things, why don't you rent THE BIG LEBOWSKI again? (In Theaters, November 2001)

THE LAST CASTLE (2001, Drama/Action): There's nothing wrong with a good old "guy movie" once in a while. As long as you remember not to peer too closely at character motivation, logic or philosophical underpinnings. THE LAST CASTLE is set in a military prison filled with hard-edged convicts. In comes rockin' Robert Redford (showing fully well why he deserved superstar status for so long), who sets out to give respect back to this assorted bunch of murderers, drug traffickers and rapists. Rah-rah-rah! This, of course, doesn't sit very well with overbearing prison warden James Gandolfini, who immediately sets out to participate in a pissing match with our protagonist. It's all a bit juvenile, but if you're swept along with the absorbing script, it won't matter a lot. Nor will the magically appearing weapons (a frickin' trebuchet? How did they build that secretly?) or the plot contrivances, such as when a small fight conveniently sucks all guards out of a cafeteria. It all builds to a chest-thumping climax in which duty, honor, patriotism and blowing stuff all come to a meaningful end. (There's one amazing action shot.) It's sort of like THE SHAWSHANK REDEMPTION with an exploding helicopter. I might sound snide and sarcastic, but I really liked the film as is, though the various emotional levels bothered me more and more once I had the chance to think about them. In any case, THE LAST CASTLE is a decent prison flick, a worthwhile rental whenever you want a guys' movie night. (In theaters, October 2001)

LEGALLY BLONDE (2001, Comedy): The concept is comedic gold (a California ditz applies herself to become a successful Harvard law student... and succeeds), the trailer makes it appear as if it's got potential and yet the film is curiously tepid. While the blonde protagonist is supposed to be misunderstood and smart (ie; can do anything if she works at it), there's scarcely more than a hint of cleverness in her actions. She essentially remains a bubblehead throughout, as her supposed intellectual capacity is never equalled by emotional maturity. A trifle, you'll say, and yet it's emblematic of a script that tries to have it multiple ways without really facing any consequence. There is, for instance, a gratuitous sexual harassment subplot that doesn't quite seem to fit. That's not even mentioning the legal simplicities that will make you scream "objection!" at the screen. (I do mean this literally.) Oh, it's a pleasant film all right. It just never does anything more with the concept. Like its protagonist, it's a superficial motion picture that might hint at greater potential but never really convinces. Non-threatening. The kind of film you rent to show to the whole family, if only because no one is likely to be offended by it. (In theaters, October 2001)

LIFE AS A HOUSE (2001, Drama): From the trailer, I was led to expect a weepy drama where a terminally ill character manages to solve everyone else's problems and does something cool before croaking. Well, that's what I got, though it was slightly more fun that I expected. For one thing, the first half of the film has a certain edge as none of the character really like each other and aren't exactly afraid to show it. The "tough love" approach taken by Kevin Kline's character is fun to watch, and isn't as sappy as his latter approach. What doesn't work so well is the finale, precipitated by a few unexplainable acts taken by various characters and a whopper of a coincidence. Then it truly gets sappy and gag-inducing. But for a while, LIFE AS A HOUSE nearly works because it doesn't shamelessly pander to the audience. The DVD contains an interesting making-of featurette in which they describe how they built a neighbourhood specifically for the film. Alas, the good stuff is nearly driven out by the promotional fluff, in what may be an ironic comment on the film itself. (On DVD, February 2003)

THE LORD OF THE RINGS: THE FELLOWSHIP OF THE RINGS (2001, Fantasy): As someone whose opinion of J.R.R. Tolkien's original novel is closer to "dull, dull, dull" than "masterpiece!", I didn't expect much of the film. So it pleases me immensely to see the film improve sharply on the faults of the written work, up to a level where I saw The Lords of the Rings that I really wanted to see, and not the interminable brick I had read. Peter Jackson's work on the film version is nothing short of remarkable, adeptly condensing hundreds of pages in less than three exciting hours. Unquestionably, the film is still very long, but it's almost all good. Good acting, fantastic direction and spectacular visuals easily make this one of the best films of the year. It's amazing (and reassuring) to see how faithful the film is to the novel and yet how much more entertaining it is. After the awful series of cheap fantasy movies of the past decades, it's heartening to see someone do it right. That such an eagerly-awaited film would end up being equal to the anticipation is simply miraculous. (In Theaters, December 2001)

MADE (2001, Crime/Drama): Though MADE is billed as a mob comedy, this low-budget film written and directed by Jon Favreau is too often irritating to be consistently amusing. Vince Vaughn's character is one of the most obnoxious protagonists in recent memory, and a large portion of the film's suspense is in wondering when someone will finally shut up the loud self-centered idiot. The making-of featurette on the DVD, however, is gracious enough to let us know that this effect is fully intentional, as the filmmakers were self-consciously trying to mix an uncomfortable blend of comedy and tension. They recommend a second viewing. I'm not sure I'm willing to undergo that particular punishment. In any case, there are few bad things to say about the film's technical polish; despite the low budget and the tight shooting schedule, the film looks great, makes good use of its LA/NYC location shooting and manages to build complete characters, despite how one may feel about them. (Though if someone can explain the sudden appearance of someone near the end...) If you liked SWINGERS (about which I have similar reservations), please feel free to enjoy MADE. (On DVD, August 2002)

THE MAJESTIC (2001, Drama): After such films as THE TRUMAN SHOW and MAN ON THE MOON, Jim Carrey doesn't have to prove himself as a dramatic actor. Still, he's fine in THE MAJESTIC, competently portraying the young professional protagonist. The film itself isn't bad at all, mixing a strong love of cinema with classic themes of love, community and redemption. But the filmmakers are a bit too deliberate, and the sugar-pumped result looks a bit too fake to be entirely pleasant. It doesn't help that the film is overly long, almost as if it really wanted to make sure that we got the message and correctly filled out the Academy Awards ballot. Cinephiles will like the film a touch more than casual viewers, given THE MAJESTIC's obvious love of the medium. (On the other hand, how can it be a true cinephile's film if Bruce Campbell doesn't get nearly enough screen time?) In many ways, THE MAJESTIC looks like a derivative of director Darabont's previous THE GREEN MILE, another good, but long-and-preachy film engineered to move audiences. Maybe I'm too sophisticated/jaded to bite at that stuff anymore, but if I liked THE MAJESTIC, I'm not totally ready to back it up enthusiastically. It'll deservedly do great business on video. (In Theaters, December 2001)

THE MAN WHO WASN'T THERE (2001, Crime/Drama): Most Coen-Brothers films take at least two viewings to appreciate, but even knowing that, THE MAN WHO WASN'T THERE remains a disappointment. Oh, it starts well enough, with an unremarkable protagonist slowwwly being sucked in a web of criminal acts. But then the Brothers get weird on us, and in short order we're asked to juggle a noir storyline with elements of aliens, oral sex and ironic punishment. I know, I know; it sounds good on paper, but doesn't translate as well on-screen. It would be foolish to deny the depth of the screenplay, what with its constant return to the conformity of the American dream. Nor would it be useful to ignore the visual polish of the black-and-white cinematography, which gives rise to some powerful imagery. But with its languid and divergent second half, THE MAN WHO WASN'T THERE tests even the most indulgent viewer and diminishes its impact. A second viewing will be useful... but can wait a few years. (In Theaters, November 2001)

MARTIAL ANGELS (aka CHUET SIK SAN TAU, Hong Kong, 2001, Action/Thriller): Oh, the wonders of Asian cinema. Here we have an action movie starring half-a-dozen young female protagonist in what does actually sound like a CHARLIE'S ANGELS derivative. Too bad it just falls flat. To begin with, the protagonists all look like each other. Then the ho-hum plot does nothing to attract or retain interest. While there are a few good directorial flourishes and the plot finally starts to move late in the film, the overall effect is less, much less than we could have hoped for. The action scenes are merely serviceable, and so are the few laughs. Too bad, really; in an environment where men dominate the action cinescape, it's interesting to see a film where men are either evil or fools and where the ladies are so obviously carry everything. Oh well. The opening credit sequence is cool. (On TV, November 2001)

THE MATRIX REVISITED (2001, Documentary): Only die-hard fans of the original MATRIX film (of which there are many) should apply for this making-of documentary. This being said, it's one of the best making-ofs I've seen so far, clocking in at slightly more than two hours, including everything from conception to critical acclaim. It's a shame that the rest of the so-called extras aren't very interesting... but then again the in-depth main feature is cool. Fans will love it; non-fans won't see the point. As is should be. (On DVD, November 2001)

METROPOLIS (Japan, 2001, Science-Fiction): Slow-paced, often-unsubtle, ordinary story of human/robot strife, technological arrogance and Really Big Buildings. Two private detective come to Metropolis to investigate the whereabouts of a mad scientist, but it turns out that their investigation ties into a secret project, generational conflicts and class warfare. The quality of the animation in this version of METROPOLIS (no ties at all to the Fritz Lang version) is emblematic of the rest of the film. Hard-edged, spectacular computer-generated backgrounds clash with hand-drawn, quasi-juvenile characters. The whole film certainly feels like that, dealing with big complex issues such as the fallacy of human progress, but watering down everything with a helping of plotting that wouldn't be out of place in simplistic Saturday Morning kid's shows. Admittedly, some scenes are spectacular: The unveiling of the city is suitably impressive, but not more so than it's inevitable destruction. (With a Strangelovian "I Can't Stop Loving You" playing in the background) The DVD help to make sense of it all, as the film is revealed to be an adaptation of a 1950s-era manga, which goes a long way to explain the nifty jazz music and the sometimes-naive feel. Interviews with the filmmakers feel remarkably candid as they admit that the creator of the original comic book probably wouldn't have agreed to their adaptation. (On DVD, May 2003)

THE MEXICAN (2001, Crime Comedy): The hardest type of films to review are those competent movies that are simply adequate entertainment, without being excessively good nor bad, just maybe too ordinary. And so is THE MEXICAN, two solid hours of not-too-dumb not-too-smart entertainment. Its attempts at quirkiness hamper the film as much as they help, with almost-gratuitous end twists that retrospectively create more problems than they solve. Julia Roberts and Brad Pitt are appealing leads, but somehow they don't work as well as it could be expected. The villain is unusually ineffectual; his big entrance (complete with potato chips) will create more giggling than dread. The film constantly threatens to become very interesting while never daring to do so. Oh well. (In Theaters, February 2001)

MONKEY BONE (2001, Comedy): If you want a proof that Hollywood'll mix everything up regardless of appropriateness, check out this film, which combines nightmare imagery with toilet humor in order to create a mishmash of elements that will satisfy no one. WHAT DREAMS MAY COME with fart jokes, except more sophomoric than pretentious. The first half-hour isn't all that bad, especially when factoring the often-disturbing designs, but then the film jettison its most appealing features (good set design, Brendan Fraser, the Monkeybone character) in an attempt to make things more interesting... and it doesn't work. From this point onward, the immaturity of the film isn't grounded by better elements. By the time a reanimated gymnast loses internal organs (immediately picked up by a team of ghoulish doctors) in a series of chases, it's far too late for redemption. There are at least three major plot cheats in the last act, the type of unforgivable script shortcut that will make you go HUH! as you watch it. ("Hey, he's in the bus!" and "Hey, little doggy!" are the worst) Stephen King and Harry Jay Knowles have cameos, but trust them to recant faster than the audience run toward the exits. A disappointment exacerbated by the waste of talent. (In Theaters, February 2001)

MONSOON WEDDING (India, 2001, Drama): This is an Indian film starring Indian actors in an Indian setting, but don't mistake this for a Bollywood film: MONSOON WEDDING is closer to the type of American drama designed for Oscar recognition than to a full-blown musical. It's realistic, dramatic, contemporary and very successful: This tale of a family on the verge of all sorts of thing may take place during a wedding, but it's neither much of a comedy nor an Indian version of MY BIG FAT GREEK WEDDING. Instead, we have a heart-wrenching study of child abuse, class differences, arranged marriages, celebrity affairs, parent-children friction, the westernization of traditional values and all sort of other not-so-fun stuff. The beauty of MONSOON WEDDING is how well it works, from simple scenes (the return home of the hitherto-comic "wedding fixer" says a lot in only a few simple seconds) to difficult choices (family or friend: pick one). The mixture of English, Hindi and Punjabi is effective (with subtitles), illustrating today's India in what feels to be a very naturalistic fashion. Fans of family dramas and foreign movies can rush to this one. Complex, ultimately uplifting and generally quite enjoyable, it's good enough to impress even those who don't usually go for these films. (In Theaters, November 2002)

MONSTER'S BALL (2001, Drama): Slow-moving, often unpleasant family drama that seems far too contrived for its own good. Set in the southern United States and seemingly dedicated to re-establish all prejudices about the old confederate states, MONSTER'S BALL stars a bunch of unpleasant characters whose sole purpose seems to be highly obnoxious before being removed from the film. We Sauvé siblings were not impressed: the ferocity of our wisecracks approached that of far worse movies. It's not as if the film doesn't attain a certain level of affection (the ending is touching, and the last characters left standing do deserve the best they can manage) but it takes a long long while to get there. The danger is in considering MONSTER'S BALL as somehow emblematic of any social issue like racism, poverty or the death penalty; the level of manipulation required to plot the story makes it patently ridiculous as an instrument of social commentary. Fans of Halle Berry will be both pleased at the intense nudity and embarrassed at a few showy scenes. (She looks good naked, but she's not convincing when hysterical or drunk, which seems to be her character's two dominant modes. Otherwise, her character seems solely conceived as a personality-free victim) Was the Oscar deserved? Hey, don't get me started on that! The DVD contains a few behind-the-scenes sequences that could be best characterized as a humour reel. There was also a director's commentary, but we could muster enough interest to go through the movie again. (On DVD, June 2003)

MONSTERS, INC. (2001, Comedy/Kids): Computer-animation studio Pixar maintains their perfect track record with a fourth feature that will no one unsatisfied. Once again, the state-of-the-art in CGI is pushed even further, this time most impressively through a perfectly-animated furry protagonist. But Pixar's biggest asset is to avoid letting technology become a crutch for a good story, and here too, MONSTERS, INC. shines brightly. The premise is cool (a monstrous parallel universe whose energy comes from scaring "our" children), but what really makes the film compelling is the steady exploitation of this premise, seemingly wringing out every conceivable joke and gadget out of it. The voice animation is good (Billy Crystal fails to annoy) and so is directing; as Pixar acquires more experience, it gets more and more audacious in how it tells stories. The comic timing of the synthetic performers is better than most other comedies of the year. Even though aimed at the kids, MONSTERS, INC. is a whole lot of fun for adults given the sharp pacing and numerous in-jokes (Harryhausen's, anyone?) Cool scenes abound, most specially the end chase sequence, a marvel of originality that will leave you breathless. The epilogue contains a touch too much schmaltz, but it won't matter a lot when you're been enjoying the whole film this much. (In Theaters, November 2001)

MOULIN ROUGE! (2001, Musical/Romance): As someone who sees nearly a hundred films per year, it's often difficult to justify seeing so many when so many of them are just crap. Then comes the odd one-in-a-hundred moment, the one that is so good, so original, so perfect that it fully justifies the rest of the dreck in theaters. That moment is the highlight of MOULIN ROUGE!, the introduction of the nightclub and of the Satine character, a raucous musical number featuring and blending "Diamonds are a Girl's Best Friend", Madonna "Material Girl", Nirvana's "Nevermind", the latest "Lady Marmalade" remix and a brand-new Fatboy Slim track. You have to see it and hear it to believe it. But don't be surprised to find yourself stuck with a silly grin during the first half of MOULIN ROUGE!, even occasionally shaking at how good it is. A triumphant revival of the musical with an initial hyperkinetic approach reminiscent of FIGHT CLUB, this is one unique film, a jewel in the rough for everyone who loves movies and pop songs. Gleefully using twenty-five years of pop music like a toolbox to tell his story, writer/director Baz Lurhmann does things with the raw material that will leave you breathless at his audacity. Postmodernism at its best. Top-notch editing, a wonderful screenplay and excellent musical talent will leave you gasping for more. Granted, the second half of the film is more dramatic, less impressive than the first half, but that first half is likely to be the best thing you'll see in 2001. Even the dependence on raw sentimentalism works to some degree. Don't miss MOULIN ROUGE! (In theaters, September 2001)

MOULIN ROUGE! (2001, Musical): Wonderful stuff any way you choose to see it. Boffo set designs, exceptional music, enjoyable acting and some dynamite movie moments. It doesn't stop, and you'll wish it never did. The DVD is stuffed with an embarrassing amount of extras, commentaries, on-set documentaries and oodles of other fun stuff, such as co-writer Craig Pearce discussing an early draft of the script which contained a character called "Baron von Groovy". (I want to see that film!). Warning, though: While the audio commentaries are great, the film perceptibly loses a lot of its impact stripped of the music, which makes the completely-muted commentary track a very curious choice from the DVD makers (as opposed to a track where the audio plays at a greatly reduced volume throughout.) I still think it's a fantastic film. (Second Viewing, On DVD, August 2002)

MULHOLLAND DRIVE (2001, Drama): Repeat after me; the emperor has no clothes. It's not because it's hard to understand that it's smart. Heck, it's not because it's smart that it's necessarily hard to understand; in this case, it's because it's incoherent that it's difficult to understand. Art is partly about presenting complex emotions to a wide audience, and that's a test that MULHOLLAND DRIVE fails miserably. The first half of the film promises an oddly eerie thriller with at least three different threads. But the second half essentially gives up on trying to piece any of this together and instead giggles madly as it throws nonsense on the screen. Too bad; for all his substantial faults, director David Lynch is adept at presenting strong individual scenes and coaxing good performances out of his actors. It's too bad that all of it resolves to nonsense or at the very least a disjointed semblance of an oniric "explanation". It doesn't help that the film has considerable lengths. By the end, maybe you'll be like me and my sister, whispering at the screen "We don't care, David Lynch." "You can't make us care, David Lynch." "Not even your gratuitous naked lesbian sex scene can make us care, David Lynch." (In theaters, January 2002)

THE MUMMY RETURNS (2001, Action/Adventure): Wheee! I've always been a fan of roller-coaster movies, and that certainly accounts for my irrational praise of the 1999 "original" THE MUMMY film, a great unpretentious blend of comedy, action and adventure. The sequel is, believe it or not, nearly as good. While not as comic as the first film, THE MUMMY RETURNS is a wonderful action/adventure thrill-ride, a good-natured spectacle that might not be in any way smart, but is certainly so well-done that you'll ask for more. Sure, the film rips-off almost every previous films of the genre (including stealing the most memorable "domino comedy" and the "face in particle storm" images from the prequel), but as long as we're having fun -and we are!-, it's hard to be left unmoved. Oodles of action -so much that it might numb you, but not as repetitive as, say, the last hour of ARMAGEDDON-, a sympathetic kid, a gorgeous (and butt-kicking) Rachel Weisz, square-jawed action hero Brendan Fraser... c'mon, grab your pop-corn, already! The story is surprisingly well-tied with the first film. The special effects are nearly omnipresent, but the level of quality differs wildly, going from amateurish to flawless. A great self-knowing grand-scale B-film. A perfect summer blockbuster. (In theaters, May 2001)

THE MUMMY RETURNS (2001, Action/Adventure): There is both good and bad in this sequel, but it maintains most of the charm of the original film. Rachel Weisz and Brendan Fraser are once again wonderful as the lead couple, and their matrimonial relationship is one of the film's highlight. I was once again impressed by the film's integration with the events of the first segment, even despite the clunky appearance of past-lives mumbo-jumbo. Some special effects are good; some other effects are surprisingly bad. The DVD features quite a few extra bonus goodies, the best of which is a fun commentary track that spends a long time pointing out flaws—though maybe not as much as the film's detractors might like. But don't worry; it's still good entertainment for the whole family. (Second viewing, On DVD, April 2002)

NOT ANOTHER TEEN MOVIE (2001, Comedy/Spoof): Make me laugh and I will forgive you anything. While the teen-movie spoof NOT ANOTHER TEEN MOVIE didn't inspire gales of hysterical laughter from me, it kept me giggling continuously from start to finish, and for that I'm reluctant to actually condemn it. Its good-natured fun won me over despite raunchy material that would otherwise make me roll my eyes and some seriously lame gags (everything related to BRING IT ON, for instance, fails miserably, as are the gags about teen movies or the eighties). There is some welcome nudity (with the appropriate subtitles) and a lot of suggestive material, though nowhere near as offensive as with, say, SCARY MOVIE. Favourite moments include the AMERICAN BEAUTY gags and almost anything with Mia Kirshner (the "too much information!" exchange would have had me roaring if I didn't have to worry about scaring the rest of the theater). No, NOT ANOTHER TEEN MOVIE is not a respectable film or even a good one. But it made me laugh, and for that I can forgive it almost everything. (In Theaters, December 2001)

NOVOCAINE (2001, Crime/Drama): I happen to believe that there's a place in every cinephile's heart for the little B-movie that works, the out-of-left-field video rental that simply proves to be a fun rental on a slow evening. No top-ten material nor DVD-essential, NOVOCAINE nevertheless proves to be a fun black comedy—a light noir film, if you like. This first feature by director David Atkins treads in the same water as 1999's under-appreciated GOODBYE LOVER, with a slightly off-kilter send-up of the usual genre conventions. NOVOCAINE is carried by Steve Martin, with Helen Hunt and Helena Bonham Carter in crunchy roles (Voyeur alert 1: Bonham Carter even takes off her clothes. Voyeur alert 2: She's more beautiful with them on.) and Kevin Bacon's cameo is simply hilarious. This is not a film that succeeds because of its plot: Due to the small budget, the cast is very small and the whodunit is consequently easy to unravel. But even then, the film's sense of fun is constant, from the meta-fictional Bacon character to the several small scenes almost parodying the genre conventions. (Think escapes; the easy ones and the hard ones.) While the directing may be a bit flashy for some, special merit should be given to a pair of continuous shots inside the dentist's cabinet, wonderful examples of cinematic technique. It all adds up to an unassuming, fully satisfying thriller that should do the job next time you don't know what to rent at the video store. (In Theaters, November 2001)

LA NUIT DE NOCE ([THE WEDDING NIGHT], Canada, 2001, Comedy) Interesting but not overwhelming French-Canadian film dealing with pre-marriage jitters in a young couple due to wed in Niagara Falls. Not exceptional, but reasonably good as a romantic comedy—though its typical French-Canadianisms might not travel very well. The lead actors are wonderful, and there are a few interesting script/directing meta-fictional tricks that add to the fun. (In French, In Theaters, June 2001)

"O" (2001, Drama): The late nineties have seen a plague of classics adapted as teen movies, most of them comedies (10 THINGS I HATE ABOUT YOU, CLUELESS, etc...) with the occasional drama (CRUEL INTENTIONS). Interestingly enough, most of these films have been decent. The latest entry in the subgenre, "O", is a re-working of OTHELLO set in a high school. Completed in 1999 but held back two years in the studio's vaults after the Columbine tragedy, "O" is an interesting reworking of a die-hard Shakespearian tragedy that pulls few punches, and ends in the expected bloodbath. Josh Hartnett is chilling as the amoral Iago/Hugo beautifully manipulating the rest of the cast like puppets. There's a certain perverse satisfaction in seeing such a merciless character at work and Hartnett twists the knife even more by playing Hugo as someone who can't even derive any satisfaction in destroying everyone's lives. In any case, the end result is fascinating in part because of the great adaptation work (war as basketball: genius!), but it'll certainly hold your interest on its own. (In theaters, October 2001)

OCEAN'S ELEVEN (2001, Crime/Comedy): It should have been the coolest film of the year. Stephen Soderbergh, George Clooney, Julia Roberts, Brad Pitt, Las Vegas... All the elements were there for extra-pure fun. Alas, the end movie ends up "just" being fun, and not much more. Oh, it's entertaining enough: Soderbergh can't make a bad film, and OCEAN'S ELEVEN is one of the most slickly entertaining adult films of the year. George Clooney is ferociously in command, outshining everyone else. Technically, this is obviously a Soderbergh film: The colors are vivid, there is a touch too much grain and the editing is very, very competent. (Almost everyone who's seen the original also agrees that the remake is better.) But somehow, it never reaches an extra level, almost as if despite everyone's intentions, something failed to gel. I could point out various mistakes (such as the EMP effect only "temporarily" disabling the power grid.), lengths (such as the poker game) or weaknesses (the bland bit players, for instance), but that would send an overly harsh message. Suffice to say that OCEAN'S ELEVEN will play well, once, but it's doubtful that people will want to watch this one over and over again. (In Theaters, December 2001)

THE ONE (2001, SF/Action): The Theorem of Convergent Movie Premises goes like this: however original and fresh any film premise is, by the time the film is over, Hollywood will find a way to make it fit in one of the few depressingly similar templates at its disposition. That's how, for instance, ALIEN and THE HOLLOW MAN eventually end up with the same kill-the-monster third act, or any number of romantic comedies with seemingly disparate protagonists all end up playing pretty much the same dramatic scene. Despite an intriguing promise and the capable Jet Li, THE ONE also ends up feeling like yet another formulaic action film with scarcely any excitement past the first few minutes. Okay, so some of the special effects are fun (the first action scene even manages to do something interesting with bullet-time effects), but pretty soon your believability sensors will start protesting at the inconsistent usage of the superpowers. Don't be surprised if you starts picking holes in the premise even as the film is doing its best to ignore them. (My favorite is; how come don't we have more super-powered elderly people, as their other-universes avatars die one after the other?) It's a shame to see Jet Li once again (see ROMEO MUST DIE, KISS OF THE DRAGON, etc.) suffer at the hands of a director who doesn't know how to film a martial art sequence. Not that the screenwriter is necessarily more competent. Once again -see GHOSTS OF MARS, or better yet don't-, I felt sorry for Jason Statham. Granted, there are nice images, from sparks-fighting to motorcycle-swatting, but the rest of the film is instantly forgettable. (In Theaters, November 2001)

ON THE NOSE (aka DELANEY'S FLUTTER, United Kingdom, 2001, Fantasy/Comedy): There is a whole universe of slight comedies out there on the "straight-to-video" shelf, and this one is no different than most. Featuring solid actors (Robbie Coltrane, Dan Ackroyd) in low-profile roles, a competent script without too much flash and an interesting idea or two, it's exactly the kind of film completely unsuited to the massive Hollywood marketing machine, which would probably end up creating false expectations anyway. In fact, it's best to come to this film without any preconceived notions. How else to enjoy a tale of a compulsive gambler who comes to discover the secret to infallible horse-picking through the preserved head of an aboriginal in a jar? (It naturally gets more complicated as the head becomes an object of interest for parties such as the mob.) No, you've never heard of the film, and neither have any of your friends. But that's all right: just have a look. The story is no worse than any of the blockbusters, and the oddly unassuming charm of the production is a strength in itself. Not too bad, despite the thin and laid-back comedy. (On DVD, January 2005)

ORIGINAL SIN (2001, Romance/Drama): Savvy movie buffs have come to dread the expression "erotic thriller" as shorthand for "the story wasn't interesting without nudity". In this case, the casting is enough to tempt even the hardened skeptics: Antonio Banderas and Angelina Jolie are among the world's Beautiful People, so how bad can it be? Well, ORIGINAL SIN doesn't turns out to be particularly bad, but it does end up being long and preposterous. This film doesn't work because it goes everywhere, abandoning dramatic focus until we don't care either where or how this couple will (or won't) end up. Improbably plot twists don't shock as much as they inspire sighs of derision from a bored audience. Few characters are sympathetic here, whether it's Jolie's morally ambiguous character or Banderas' dim-bulb protagonist. Even more shocking is the discovery that Jolie's nakedness is vastly overrated; she definitely looks better clothed (and padded a la TOMB RAIDER) than nude. So say goodbye to your last remaining reason to rent ORIGINAL SIN: download the naked clips from your favorite P2P network tonight, and spend your good money elsewhere. (On DVD, December 2002)

OSMOSIS JONES (2001, Comedy) is a failed fusion between two very different films. The first one is a relatively clever animated comedy take-off on the buddy-cop concept... in the human body. A young impulsive white cell cop is teamed up with a straight by-the-book cough medicine colleague and, well, we've seen the rest, except not as antibodies hunting for a dangerous virus. The fast pacing features plenty of sight-gags to keep up our interest even though it's all familiar stuff. The second film of OSMOSIS JONES, however, is an awful gross-out live-action comedy that is not only audience-hostile, but also astonishingly dull. Bill Murray turns in what may very well be his worst performance ever and to put it simply, it doesn't work. Whenever the live-action segments pop up, we just wish to go back inside Frank's body. Unfortunately, OSMOSIS JONES sinks under the weight of its problems, drowning its good animated segments. Too bad. The DVD spends way too much time, money and attention on a poor movie, though it's nice of them to show us as much Brandy Norwood as they can. (On DVD, December 2001)

THE OTHERS (2001, Horror): In this age of stupid big special effects, it's easy to be seduced by a quiet little effects-free ghost story. Director Alejandro Amenábar here repeats many of the elements that made his previous film, ABRA LOS OJOS, such a success: A low-key approach steadily building up to a twisty conclusion, with our protagonists struggling with the acceptance of key facts. It's not quite enough to be fully satisfying, though: Most of THE OTHERS' length is of such plodding, maddening pace that you'll long once again for the snappy storytelling of Rod Serling's "The Twilight Zone". For added bonus points, note how the keys motif seems to disappear midway through, and ponder how and why the film doesn't make all that much sense once the final twist has been revealed. Oh, and wonder about the utility of the husband. Still, as mentioned previously, it's so easy to be seduced by the quiet ones, that you never notice they're not much better than the loud ones... (In theaters, September 2001)

LE PACTE DES LOUPS (aka THE BROTHERHOOD OF THE WOLF, France, 2001, Action): I really should have liked this film. On paper, it sure sounds like a winner: An action-packed monster movie set in medieval France, starring a libertine scientist, his Mohawk kung-fu master, Monica Bellucci as a courtesan and a villain played by Vincent Cassel? With wire-fu action scenes inspired and staged by Hong-Kong martial artists? Mixing political intrigue and religious conspiracies? I'm there! Unfortunately, while LE PACTE DES LOUPS has fascinating components, it never manages to put everything together seamlessly. The film jumps from one emotional register to another without smooth transitions and uses various cinematic tricks without seemingly understanding why they should be used. The result is a loud, incoherent mess that ironically feels very, very long. (It doesn't help that the last forty minutes are repetitive and essentially useless.) This is a film by technicians, not storytellers; the plot is weak and senseless, whereas the images are often gripping. (I laughed out loud at a cheeky transition pan shot that neatly dissolves from Monica Bellucci's curvy naked body to a CGI shot of hills and valleys.) There is a palpable sense of missed opportunities amidst the stunning scenery, the expensive special effects and the interesting back-story. It's just too bad that nothing more intriguing has been done with it. (In Theaters, June 2002)

PEARL HARBOR (2001, War/Romance): When all will be said and done, the best two things about this Bruckheimer/Bay production will be A> The stunning centerpiece of the film, a 45-minutes-long re-creation of the attack on Pearl Harbor, and B> a renewed appreciation for the masterpiece that was TITANIC. The main problem of PEARL HARBOR is its structure; while we could have lived with the trite dialogue, it's hard to remember fondly a film that makes you wait an hour for the big action scene, and afterward goes on for another hour. You begin at Pearl Harbor and you end at Midway; or you resolve all the stories during the attack, but you! do! not! do it like that. It doesn't help that the leads are blander than bland (though Kate Beckinsale is cute, and her fellow nurses even cuter), the dialogue is atrocious (they could hear me roll my eyes across the theater) and that Michael Bay's usually dynamic style here comes across as unbearably pretentious. (I laughed aloud at a revolving door shot that went on... and on... and on...) The result is a mish-mash of a film, a 45-minutes Home Theater showpiece mixed with an emotion-free romance that drags on for a full two hours. It's just that once you've seen the explosions, you just won't care about anything else. At least TITANIC, for all its faults, felt like a genuine story that didn't waste your time. Here, at least half the film is filler, including most of the celebrity cameos that could have been cut without a moment's notice. (C'mon; did we really need the Voigt, Gooding or Aykroyd characters? No!) It's hard to say if the film fails because it's too ambitious or because morons wrote it. In any case, it's a half-success at best. (In Theaters, June 2001)

RAT RACE (2001, Comedy): The premise isn't fresh (strangers in a contest to find a huge amount of money; think MAD, MAD, MAD, MAD WORLD.) but it's fresher than most recent so-called "comedies" in recent memory. The end result isn't totally satisfying, but it's a pleasant diversion. You might be attracted to the film for its cast, but in the end, it's two near-unknowns (Brecklin Meyer and Amy Smart) who will keep your interest, as John Cleese and Whoopie Goldberg simply go by the numbers and Rowan Atkinson grates nearly every time he's on screen. (I still can't say anything even remotely nasty about Seth Green, though.) Not every plot thread is equally funny, but they all have their moments. The gags are good an plentiful, but what's most interesting about them is the intricate build-up of outrageousness, often sustained throughout several minutes as a funny situation steadily gets funnier. That Hitler gag... oh my... (The bets placed by the bored millionaires are also a steady hoot) The conclusion has the problem you'd expect, as the script tries semi-successfully to find a way to make everyone win. Much like the viewers, who'll enjoy it equally, but not completely. (In theaters, August 2001)

RECESS: SCHOOL'S OUT (2001, Kids/Animation): While fans of the TV Show will undoubtedly enjoy the film more than brand-new viewers, it's far from being a total waste of time for the latter group. A good opening sequence efficiently introduces all the characters you need to know, and incidentally demonstrates a competent level of writing. Adults need not fear to be bored by the story; while this obviously remains a kid's show, the various allusions, winks and general storytelling competency will hold your interest. Chances are that if nothing else, the "sixties flashback" sequence is designed specifically for the parents watching the film with their kids. (the latter Pink Floyd reference is guaranteed to have you howling) There's also a more serious, and as effective, moment where the characters have to contemplate the passing of time and effect thereof on friendship. Some characters get unfortunately short thrift (more Spinelli!!) and the animation level -save for some computer-generated sequences- remains strictly Saturday-morning level. But don't let that stop you; RECESS: SCHOOL'S OUT is good fun. Stay for part of the end credits, as a hypnotically compelling version of "Green Tambourine" is sung by Robert Goulet. (On video, September 2001)

RIDING IN CARS WITH BOYS (2001, Drama) simply isn't my type of film. I have no interest whatsoever in an oh-so-courageous biography of a woman who screwed up her life by having a baby during her teenage years. I don't usually see these movies and normally wouldn't have seen this one. Should I feel comfortable giving bad marks to this film if it's not what I'd watch? Well, when it's as boring as RIDING IN CARS WITH BOYS (which cars? which boys?), it's hard to feel guilty doing so. The characters aren't sympathetic, James Woods is wasted, the structure lacks dramatic intensity and everyone is miserable throughout the film, including me. In fact, the best attribute of RIDING IN CARS WITH BOYS is to act as a strong warning; Most Americans aren't smart. Most Americans aren't interesting. Most Americans don't deserve our attention. This is how most people live, and it sucks, and I see enough of it in my own life to desperately avoid it in the theater. (In Theaters, December 2001)

THE ROYAL TENENBAUMS (2001, Comedy): While I recognize the artistic qualities of writer/director Wes Anderson's previous RUSHMORE, I doubt that I'll ever manage to like it. I was prepared for more of the same with THE ROYAL TENENBAUMS, and so my feeling at the end of the film is one of relief. Yes, it's more or less the same approach than RUSHMORE, but this time the discomfort factor of the first film is toned down and the characters are more broadly sympathetic. The result is a much more enjoyable film. The acting talent present in the film is awe-inspiring; Hackman, Huston, Glover, Stiller, Wilson [x2], Paltrow... aside from Bill Murray (in a role that could have been played by anyone), few of them are wasted. There are still uncomfortable moments (the Paul Wilson plot-line, for instance) but the writers' love for their characters shines through and carries the audience over the less pleasant moments. The direction is appropriate, though occasionally a touch too pedestrian especially given the flourishes shown elsewhere in the film. While I'm not particularly enthusiastic over THE ROYAL TENENBAUMS, it's a definite step up from RUSHMORE and a quirky comedy in its own right. Definitely worth a look on video if that's your type of film. (In theaters, March 2002)

RUSH HOUR 2 (2001, Action/Comedy): While I didn't love the first RUSH HOUR film, I liked it a lot: The mixture of Jackie Chan action, Chris Tucker's loudmouth antics and general sense of fun (not to mention the racial diversity of the film) made it one the little surprises of 1998. I was looking forward to the sequel; Brett Ratner know how to deliver and it was hard to see where he'd fail. And yet, for a while, it looked as if he would: The Hong-Kong section of RUSH HOUR is, generally, a notable flop: The screenwriter doesn't do anything interesting with the Tucker-out-of-his-element premise, makes him talk way too much (in dangerous situations where you start to wonder how he ever survived up to this point) and even adopts a slightly patronizing tone. There are a few good action sequences, but that's it. Then, happily, the film moves back to the United States and improves sharply. (It might or might not be a coincidence if we get a lingerie shot of Latino beauty Roselyn Sanchez at approximately this moment. On a similar register, Ziyi Zhang is menacing and adorable in the henchwoman role.) The film then keeps on getting better and better until the Las Vegas climax, by which time a middling film is rescued by a greatly enjoyable conclusion. But, at times, it was a close thing. (In theaters, August 2001)

SAVE THE LAST DANCE (2001, Teen Romance): Mostly unremarkable music/romance teen film of the sorts you've seen countless times already. The interracial romance does adds a certain interest (and a small surprising hospital scene in which a few highly meritorious points are made), but that's far from being enough to be interesting. The first hour of the film is by far the worst, as the screenwriter piles up every single cliché from romance, newly-moved, musical and gangsta teen films. Julia Stiles turns in an average performance, looking adorable in one scene and just plain boring in the next. Nothing to see here; even a free rental left me somewhat cheated. Oh, okay, you can add a few extra points if you like slow boring hip-hop. (On video, July 2001)

SAY IT ISN'T SO (2001, Comedy): Well, the age of the gross-out comedy is upon us, and as if it wasn't enough that almost all of them are THERE'S SOMETHING ABOUT MARY ripoffs, what really makes'em stink is that they're just not funny. I mean, who could reasonably greenlight a comedy about incest featuring mutilation and poking fun at amputees? No small wonder the film elicits only a few forced groaners and quickly sank at the box-office. It doesn't help that Heather Graham is upstaged in the looks department by the "other woman" character (who's in barely three scenes), and that Chris Klein is one of the blandest romantic protagonist imaginable. (He's interesting for maybe five minutes, during which he sports a slacker haircut that disappears almost immediately.) Unfunny, unfocused, exasperating by its willingness to always go for the obvious gross-out, SAY IT ISN'T SO unfortunately is. A leading contender for worst-of-year title. (In Theaters, March 2001)

SCARY MOVIE 2 (2001, Satire/Comedy): The first film was a genuinely amusing satire marred by gratuitous gross-out gags. This one is a poor attempt at a comedy marred by even more gratuitous gross-out gags. It's not that you're not grinning (to be fair, the sequences referring to THE EXORCIST, MISSION IMPOSSIBLE 2 and CHARLIE'S ANGELS are worth a discount rental alone if you're a fan of the original films), it's that you feel quite guilty for doing so. And whereas the prequel's gross-out gags had some amusing value, the ones in here are simply mystifying: did someone truly believe, at any moment during the production, that these would be funny? Particularly annoying is Chris Elliot's character, whose antics are simply perplexing. The rest of the cast is so-so, with Anna Farris doing her best to be as bland as possible and Tim Curry shamelessly collecting a pay-check. (James Woods, however, is as good as usual in his quasi-cameo.) Big fans of satiric comedies might enjoy ("Let's fight Mad Cow style! Moo! Mutherf..."), but I'd recommend SHRIEK IF YOU KNOW... well before this one. The DVD contains some forty-odd minutes of deleted and alternate scenes, and it's telling that they are roughly of the same quality than the rest of the film. (On DVD, October 2002)

THE SCORE (2001, Thriller): As a French-Canadian, it's always a lot of fun to see Hollywood in Montréal and Montréal in Hollywood. After THE JACKAL and THE WHOLE NINE YARD, here's THE SCORE, which uses the city to its best potential yet. No Bruce Willis in sight, but the star-power of the film is stellar: Ed Norton, Robert de Niro and Marlon Brando, collectively representing the best actors of three generations. Excited? Don't be. For one thing, Marlon Brando is an undistinguishable wreck though the whole film. For another, there's scarcely anything to do during the whole script for the two remaining superstars: THE SCORE is built around a heist, but only one heist. It's all depressingly linear: Whatever small twists and counter-twists the film possesses can be seen coming well in advance (or simply by watching the trailer) Heck, Angela Basset has, what, only five minutes of screen-time? Oh, the scenery is nice, what with de Niro walking through the City and most actors uttering a French line or two. Some technical details are interesting. But that's pretty much it. The rest of the film is an exercise in waiting until the end. (In theaters, October 2001)

THE SCORE (2001, Crime/Drama): I wasn't overly impressed when