Year: 2002

  • The Rock (1996)

    The Rock (1996)

    ByChristian Sauvé Movie Review

    (Second viewing, On DVD, May 2002) There is something awe-inspiring in the grandiose panache with which this movie flaunts itself. Continuity mistakes, logical flaws and nonsensical developments are swatted aside like irrelevant trivialities, allowing director Michael Bay full power to show incredible images on-screen. The camera moves, sweeps, pans, captures perfect moments and doesn’t give a damn about the words or the continuity. The Rock is as close as anyone has ever come to the ultimate action movie. I still find parts of it silly beyond words—but soon after I’m silenced by the boffo action sequences and the slick polish of the whole production. I love the characters (Nicolas Cage, Sean Connery and Ed Harris are perfect), I love the direction, I love most of the one-liners and I love the explosions. Why should I complain about the rest? To see if you’re a real action-movie junkie, try watching only five minutes of the film. The first-generation DVD includes the film, and nothing else. But the movie is so good…

  • Panic (2000)

    Panic (2000)

    ByChristian Sauvé Movie Review

    (On VHS, May 2002) Lukewarm straight-to-video drama about a hit man and his domineering father. What could have been a fun Simpsons episode is transformed in a full-blown bore-fest. Hey, at least it’s good to see Neve Campbell get work again, but that’s a small comfort. William H. Macy is fine as the tortured protagonist and Donald Sutherland is suitably conniving as the father, but unless you’ve got a fetish for hit men family dramas, I wouldn’t bother. Life’s too short. What if a hit man is gunning for you right now? Would you want to waste your last remaining hours watching featureless movies like this one?

  • Manifold: Origin, Stephen Baxter

    ByChristian Sauvé Book Review

    Del Rey, 2002, 441 pages, C$40.00 hc, ISBN 0-345-43079-4

    As an avid reader with a limited book-buying budget, I have come to hate inconsistent authors. Greg Bear, for instance; capable of turning out fantastic novels (Moving Mars) and then waste our time with boring crap (Dinosaur Summer). Up until now, Stephen Baxter had proven to be a dependable author, writing book after book of solid hard-SF, often with deficient characters but never without a good lot of interesting ideas.

    What makes Manifold: Origin so frustrating isn’t so much the conviction that Baxter is now an unreliable author as how it’s such a let-down from the first two volumes of the Manifold trilogy. Even as “thematic trilogies” go, this third volume is a bust.

    A quick reminder: With his Manifold trilogy, Baxter set out to examine the question of sentience in the universe, re-using a cast of similar characters in alternate universes. The first volume, Manifold: Time, posited that humans were alone and showed how they set out to solve the problem. In Manifold: Space, the universe was filled with intelligent life and most of it was hostile to each other. In Manifold Origin, the scope is limited to humans. All kinds of humans.

    As the novel begins, our common protagonist Reid Malenfant and his long-suffering wife Emma are flying over Africa. Stuff happens, a mysterious red moon appears, they eject from their plane and a giant vacuum cleaner scoops up Emma as Reid parachutes back to Earth. As with the previous Manifold novels, this is the beginning of Malenfant’s quest to set up an impossible space mission, in this case send a rescue shuttle to the red moon in order to rescue his wife.

    At least a hundred pages of filler pass until Malenfant manages to lift off. Once the rescue shuttle lands (with predictably catastrophic consequences), both Malenfants are stuck on the red moon, where they’ll discover that it’s a device traveling in between universes to cross-pollinate the various branches of humanity. It’s an interesting concept. Unfortunately, you have no idea how dull and unpleasant is the execution.

    The surface of the Red Moon isn’t a fun or peaceful place: Various sub-species of humanity cohabit there, most of them barely above pre-historical social levels. There is a considerable amount of cannibalism, inter-species warfare, senseless deaths and unpleasant mating rituals. Oh, and slavery too. I have accused Baxter of being grim before, but I really had no real grasp of how depressing he really could be. It gets worse, naturally. The end of the novel is as pointless as British SF authors can make’em, which is to say very.

    My main objection to Manifold: Origin is that it’s nowhere near as densely imagined as Baxter’s previous books. Good ideas are far and few in-between, and the whole novel constantly feels padded. Most of the non-homo-sapiens viewpoints can safely be skipped without any loss of comprehension. The whole mission-preparation segment is overindulgent, stopping the action just as we needed to speed up the plot. Even worse, the ending kills off most of the cast, doesn’t solve any problem, barely presents a lame explanation and leaves whatever remaining characters in an unbearable hell.

    The only good news are that given the loose relationship between the three volumes of the Manifold trilogy, you can read the first two and skip out entirely on the third without any harm. At the very least, don’t rush off and buy the hardcover like I did; you’ll be sorry.

    As far as I’m concerned, though, Baxter gets taken off not only my hardcover list, but off my buy list altogether. I’m sure he’ll get over it some day.

  • A Knight’s Tale (2001)

    A Knight’s Tale (2001)

    ByChristian Sauvé Movie Review

    (On DVD, May 2002) 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.

  • Kissing Jessica Stein (2001)

    Kissing Jessica Stein (2001)

    ByChristian Sauvé Movie Review

    (In theaters, May 2002) 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.

  • Insomnia (2002)

    Insomnia (2002)

    ByChristian Sauvé Movie Review

    (In theaters, May 2002) A Southern-California detective (Al Pacino) is sent to Alaska to investigate the murder of a young girl. Stuff happens, someone dies, some blackmail takes place and suddenly our protagonist is caught up in complex moral dilemmas, which aren’t helped by his progressive debilitation from lack of sleep. There isn’t much to say about Insomnia besides that it’s a good thriller, with enough grimness and storytelling savvy to keep everyone interested until the end. The Alaskan cinematography is spectacular, and so are most of the actors involved. Director Christopher Nolan’s follow-up to the boffo Memento isn’t nearly as brilliant nor as convoluted, but he proves adept to the task of telling a more classical story. Now let’s wait for his next feature…

  • Il Mostro [The Monster] (1994)

    Il Mostro [The Monster] (1994)

    ByChristian Sauvé Movie Review

    (On VHS, May 2002) Make no mistake; you have to be in a very specific mood in order to like Roberto Begnini. This being said, it’s always a lot of fun to see him at work if you like his specific shtick. Il Mostro is a touch overlong and a little too repetitive, but when it works, it sort of works well. I wasn’t overly pleased, though, by the introduction of a serial murderer in what is otherwise a rather innocuous comedy; maybe it’s an Italian thing.

  • Storming Heaven, Kyle Mills

    ByChristian Sauvé Book Review

    Harper, 1998, 499 pages, C$9.99 mmpb, ISBN 0-06-101251-3

    Looking at genres, from time to time, I despair: Is it possible to do something new or innovative any more? A standard thriller features a lone protagonist who loses everything by fighting a vast conspiracy. Betrayals, unlikely allies and multiple murders usually complete the picture. In this familiar context, is it possible to create something interesting?

    Well, yes. Any sufficiently-capable author can still work wonders with even the most overused plot. It all depends on good characters, interesting twists and good writing. Kyle Mills’ Storming Heaven doesn’t deviate a lot from the usual thriller plot, but the execution of the premise makes it all seem fresh, somehow.

    It starts with a murder, obviously. This time, a suburban millionaire couple is found dead in their home. Their teenage daughter is missing. FBI agent Mark Beamon (suitably renegade enough to serve as our protagonist) suspects something is up. His investigation eventually uncovers disturbing links between the young girl and a vast new religion with links to a telecommunication empire and a few paramilitary operatives.

    Scientology, anyone? Not quite. Clearly, some parallels exist: The Kneissians do pillory their opponent through lawsuits, have an ongoing feud with the German government and operate according to a series of “levels” similar to the real-world sect, but Mills take the concept much farther. The Church of Kneiss is actually closer to Scientology++, if you want: Mills imagines a new religion that consciously uses the latest techniques in marketing and social manipulation to set up a brand-new system of belief. Without the “limiting factor” [P.236] of outdated dogma that holds back established religions.

    Every jaded reader should be paying attention at this moment; while real-world governments are too ponderous to engage in conspiracies and businesses are too subject to market fluctuation to be menacing, religion is something else. When its influence comes crashing down on our protagonist, there isn’t much he can do to stop them. It’s a formidable opponent, and our hero has to use his wits to extricate himself from an impossible situation.

    Fortunately, this is yet another area where Kyle Mills distinguishes himself. We’ve seen countless smart renegade cops before, but few of them are as believable as Mark Beamon. He repeatedly demonstrates his intelligence without inexplicable leaps of logic or hand-waving. Storming Heaven‘s good characterization doesn’t stop there; the novel is filled with memorable supporting characters that resonate even weeks after finishing the novel. The young heroine herself is one of the most sympathetic kid-in-distress in recent memory, as she even gets a chance to shine her wits later in the novel.

    Somehow, everything else seems sweeter when good characters are at the core. Even though the plot mechanics may seem familiar, they work much better when we care about the humans they affect. Beamon’s descent in obscurity is stronger, and so is his inevitable triumph.

    A strong, unconventional, too neat conclusion ties everything together with an effective resolution that doesn’t dredge up the mano-a-mano cliché, and takes the time to deliver a few scenes of pure payback pleasure.

    Well-written and well-executed, Storming Heaven is a shining thriller that can restore your faith in the tired old conspiracy genre. Strong characters remain at the core of the narrative, making this novel more than your run-of-the-mill escapist entertainment. The religious sub-themes are deftly handled and may make you think hard for a moment or two. Mills vaults in the ranks of promising thriller writers. More, please!

  • Friday The 13th (1980)

    Friday The 13th (1980)

    ByChristian Sauvé Movie Review

    (On VHS, May 2002) Dull, repetitive piece of trash. Hard to see why this has spawned nine sequels (and counting) except for the low production values and the simplistic storyline that can be understood even by gibbering morons. Simple stuff: Teenager separates itself from the group, gets killed. Repeat until only one’s left. I wish I could say that the handheld shots and the amateurishness of the script are a refreshing change after the slick twenty years of insipid rip-offs, but I’d be lying, really. The insipid drawn-out finale is just annoying. It can be watched while reading a book. Heck, there isn’t even much nudity. Blah.

  • Friday the 13th Part III (1982)

    Friday the 13th Part III (1982)

    ByChristian Sauvé Movie Review

    (On VHS, May 2002) The shocking -shocking!- thing about this series is not how every damn film in the series is a carbon-copy of itself as much as how it wouldn’t take all that much wit or talent to make something special or interesting out of it. (Hey, that explains Kevin Williamson’s Scream after all…) How many time do we have to suffer through the same stupid screaming, running, tripping? Gaak. Not much new to report in installment #3: The composition of some shots is peculiar… until you realize that the film was meant to be shown in 3-D. The disco-biker gang is rather amusing, perhaps signaling the series’ descent in auto-derision. (The hockey mask also makes its first appearance) The frickin’ three-hour-long climax is once again ridiculously drawn-out. Does this series ever improve? It’s not looking like it.

  • Friday The 13th Part 2 (1981)

    Friday The 13th Part 2 (1981)

    ByChristian Sauvé Movie Review

    (On VHS, May 2002) Don’t worry if you haven’t seen the first film; it’s recapped (at length) in the first few minutes. To be entirely truthful, this is a better film than the original, if only for the enhanced production values and the better-looking girls. (Still not much nudity, alas) Nevertheless, there isn’t much there in term of cinematic enjoyment. The directing is flat, the actors rather less than convincing and the repetitive structure of the plot starts to grate early on. Naturally, I could also argue that the perfect F13 film would be all porn and no violence. But then again I’m just bored watching that stuff, so what do I know?

  • Enough (2002)

    Enough (2002)

    ByChristian Sauvé Movie Review

    (In theaters, May 2002) Pure exploitative trash! Take a beautiful female protagonist, give her the worst psycho husband ever imagined and then give her a rationale for killing him. It doesn’t take much more to make such an obviously manipulative film. The surprise here isn’t how unsubtle is the film as much as it’s how it all works so well: The husband is enough of a crazy maniac that killing him doesn’t seem an act of female aggression as much as a righteous purge for all humankind. (You just have to see how he behaves with other men to figure out how much of an eeevil antagonist he is.) Jennifer Lopez is wonderful (as usual) as the protagonist, going from innocent to victim to fighter in one satisfying arc. (I don’t like her short hair nearly as much as her usual hairstyle, but that’s pretty shallow, isn’t it?) Let’s not fool ourselves: Enough is pure thriller trash without social signification, but executed well enough that is becomes somewhat of a guilty pleasure. Your mileage may vary.

  • Edward Scissorhands (1990)

    Edward Scissorhands (1990)

    ByChristian Sauvé Movie Review

    (On DVD, May 2002) Goodness bless Tim Burton, he of the wacky visual sense and teenage sensibilities. It’s easy to see a little too much symbolism in Edward Scissorhands, considering the characters as a metaphor for troubled teenagers (whose actions often seem to destroy everything they touch), a retelling of Frankenstein and a general fable on ostracism, but the ending of the film doesn’t drive any particular point home (except, maybe that some people just can’t fit in, which seems a curiously reactionary counterpoint to classic movie values.) Still, whatever unease the film may eventually cause, there’s no denying that the film is a visual treat and a joy to watch. On one level, Edward Scissorhands succeeds on pure originality, because it’s only all too rare to see such imagination on display. At the very least, it’s a change from the usual fare. The DVD features a bunch of interesting extras, including a dry but informative commentary track by Burton.

  • The Ultimate Rush, Joe Quirk

    ByChristian Sauvé Book Review

    St. Martin’s, 1998, 374 pages, C$8.99 mmpb, ISBN 0-312-96902-3

    If I’m forced to mention only one element that can transform an average thriller into a good one, it would be speed. Pacing, rhythm; call it how you want, but a novel that moves can be forgiven many things that would otherwise sour a book that just doesn’t go anywhere.

    The Ultimate Rush begins with a solid, exhilarating demonstration of speed, as our protagonist battles the treacherous streets of San Francisco to make a delivery… on rollerblades. Heroic maneuvers, near-death experiences, fast hip lingo and limpid writing make this intro one of the best since, ironically enough, the similar opening of Neal Stephenson’s Snow Crash.

    The rest of the novel eventually slows down, but in a few subsequent pages, we’re introduced to a protagonist who seems to embody coolness. Pierced narrator Chet Griffin isn’t only a blader, but he’s also an ex-hacker and a punk rock groupie with an unwholesome fascination for a lesbian friend of his. His new job as an elite courier, however, soon -very soon!- sends him rolling straight to various underworld elements, who quickly become highly unpleasant when they suspect him of peeking in the packages…

    As a novel, The Ultimate Rush initially lives up to its title. The novel alternates between terrific chase sequences and hilarious slice-of-life scenes; it’s very difficult not to like Chet and his merry band of friends. When, in mid-book, love strikes and we’re treated to a gratuitous sex scene (“Do me like a straight girl!”, etc. [P.206]), well, it’s like seeing two old deserving friends finally getting together. Quirk has a knack for describing memorable characters, and our attachment to them goes a long way to make us like the book.

    Quirk can’t resist being cooler than thou, though, and sometimes bites off more than he can chew. Yes, his taste in music is cool and impeccable (bands and album names are casually dropped to show off) but while I’m no authority on rollerblading, his hacking sequences are a bit off. They reprise, albeit with some skill, the usual cliché that gifted people can break in anywhere with only a few hours’ worth of work. Fortunately, there’s some hand-waving and not a little help from various virtual friends, but still… At least this gives form to one of the coolest deep-hacking scenes since Stephenson’s Cryptonomicon. (On the other hand, well, everyone will easily guess the real identity of the cyber-antagonist chapters before it’s finally breathlessly revealed to us.) Realistic, accurate and carefully researched? Er, no.

    Technical quibbles aside, though, what really harms the book is a steady lessening of tension in the last hundred pages. The ending, which packages a shootout between various groups, should be thrilling but comes across as perfunctory and routine. The book also gets grimmer as it concludes, which somewhat contradicts the novel’s earlier carefree attitude.

    Fortunately, it ends up on a high note. Or nearly does; I’d recommend stopping at the penultimate chapter rather than the last unless, as the chapter title indicates, “you want a sequel”. It’s a huge downer, pointless and depressing, the kind of thing that’s best left as the first chapter of the sequel.

    But again, if you can ignore that pesky problem, The Ultimate Rush is a wild ride, a breakneck thriller with great sympathetic characters, crackling narration and a devastating sense of cool. If every other suspense novel you read seems flat and plodding, try this one. Zzzoom!

  • The Bogus Witch Project (2000)

    The Bogus Witch Project (2000)

    ByChristian Sauvé Movie Review

    (On VHS, May 2002) Imagine a flyer inviting amateur Los Angeles-area filmmakers to send in their short Blair Witch Project parodies. Imagine screening all of these g’damn shorts. Scary? Repulsive? Dreadful? Well, you can get a taste for it, because they’ve selected the “best” five of them for your viewing pleasure. I normally have a very high tolerance for silly parodies, but that threshold’s was reached early on with The Bogus Witch Project. There are a few clever jokes here and there, but if there was a case for plagiarism, it would have been to steal all the best ideas and do one single parody. After all, there’s a limit to the number of times a lens-cap joke can be effective. Heck; the Pauly Shore segment is the best thing about the film. What else can I say?