Year: 2003

Darkness Falls (2003)

Darkness Falls (2003)

ByChristian Sauvé Movie Review

(In theaters, January 2003) After The Ring, it’s hard to be generous to run-of-the-mill horror films, but even in normal circumstances, it would be pretty hard to get excited about Darkness Falls. It’s a monster movie like all others, except that it’s too strangely similar to Pitch Black and happens to steal at least one sequence from Requiem For A Dream. Once past the promising prologue, it’s dull, really. A killer tooth fairy? Come on, you can do better than that! A monster that can’t attack in the light? Well don’t give me a film where even pitch darkness is illuminated by what looks like a 40-watts full moon (oh, and with constant lightning). The staging is moronic, the characters are dumb and the dialogues are even dumber. Sure, there are a few oddly affectionate moments of self-aware camp (“Are we going to die?” “Yes.”), but despite the presence of one hot heroine (take note: Emma Caulfield), the rest of the film is completely unremarkable. Maybe it can impress anyone who’s never seen even another horror movie in their life. All the others, however, will yawn rather loudly. A killer tooth fairy. Goodness.

Confessions Of A Dangerous Mind (2002)

Confessions Of A Dangerous Mind (2002)

ByChristian Sauvé Movie Review

(In theaters, January 2003) Hmm. A real-life game show producer (Chuck Barris) writes “an unauthorised autobiography” in which he invents a shadowy secret life for himself: TV executive by day, CIA hired killer by night. The demands and women of both of his life take their toll on him. Sounds fascinating? It ought to have been, but unfortunately the screenwriter (Charlie Kaufman, yes, of Adaptation and Being John Malkovich fame) and director (George Clooney, yes, the actor) adapt the book in a wholly weird and stylised fashion. It could have worked, but the lead character in the tale (Barris, well-played by Sam Rockwell) turns out to be a highly repulsive protagonist. While it’s difficult to fault anyone (least of all Clooney, who exhibits some competency with the camera), the film itself sorts of falls flat. It feels like a series of vignettes rather than a flowing story. Julia Robert’s character, for instance, turns up in four or five scenes, but is supposed to be an important part of Barris’ life. It doesn’t click, and ultimately, neither does the film. The humour quotient is low and the interest level flags intermittently. I wasn’t asking for another True Lies, but at least True Lies managed to hold together all the elements it was given. Make no mistake: Confessions Of A Dangerous Mind is an interesting experiment… but not a completely successful one.

Clear And Present Danger (1994)

Clear And Present Danger (1994)

ByChristian Sauvé Movie Review

(Second viewing, On DVD, January 2003) Despite the rather extensive (and damnable) liberties taken with the last third of the source material, this film at least managed to remind me why I still think that this particular Tom Clancy novel is my favourite of his. Unlike the other “Jack Ryan” stories, this one is chiefly concerned with corruption from within, with an unlawful series of action taken by Americans. This, in the realistic context of Ryan’s universe, makes the material far more interesting than simply fighting Russians or Terrorists. It helps immensely that Ryan is here faced with an adversary as capable as he is from an intellectual perspective. Harrison Ford is once again too old for the role, but not by much, as his position here is more senior. Alas, the last third of the film is overlong, makes too much use of Ryan as an action hero and loses itself in a multitude of late subplots rather than focus on the resolution. In short, it really screws up the novel for no good reason whatsoever. At least it’s redeemed by a really good last few scenes, where Ryan must decide how much of a boy-scout he truly is. Plus, the rest of the film does an admirable job at presenting a complex issue is a few simple sequences. Worth a look. The first-generation DVD simply presents the movie, plus the trailer.

Red Rabbit, Tom Clancy

ByChristian Sauvé Book Review

Putnam, 2002, 618 pages, C$39.99 hc, ISBN 0-399-14870-1

It’s no accident if Tom Clancy has decided to incorporate under the name “Jack Ryan Ltd.” His fictional protagonist has starred in no less than eight best-selling novels since 1984 (with cameo roles in two others) as well as four blockbuster films. This is nothing compared to some mystery writers who are still churning out series novels decades after inventing their lead protagonist (Robert B. Parker and his “Spencer”, for instance), but unlike them, Clancy has been willing to make his characters evolve. From a humble intelligence analyst in The Hunt for Red October, Jack Ryan has become, post-Debt of Honor, nothing less than the President of the United States. After dealing with what was almost a nuclear war in The Bear and the Dragon, there isn’t much left for Ryan to do: Step down —or die heroically.

While that particular story might be told in Clancy’s next opus, [September 2003: Alas, no] that hasn’t prevented him from squeezing out one more Ryan adventure out of his imagined universe. With Red Rabbit, he takes us back sometime between Patriot Games and The Hunt for Red October to tell us of his involvement in countering an assassination attempt on the Pope.

Now this attempt is part of the historical record; in May 1981, Pope John Paul II was severely wounded by a Turkish terrorist named Mehmet Ali Agca, who was using a weapon obtained in Bulgaria. Since then, various rumours have credited the KGB with this attempt. Red Rabbit is a peek behind the Iron Curtain, a fictionalization of the events surrounding this event.

It’s an unusual novel for Clancy; an attempt at meshing historical fact and fiction (he has written “historical” novel before –Without Remorse-, but it didn’t attempt to integrate itself with any known historical fact), a simpler plot than the previous novels (notice how the book is “merely” six hundred-odd pages long) and a curiously non-violent book too: The only shots fired are part of the historical record, and the body count equals exactly one —and that takes place off-screen at the very very end of the book.

It’s also unusual in that it’s Clancy’s purest “spy” story so far. Whereas The Cardinal of the Kremlin contained a substantial touch of spycraft, this novel is packed with what feels like authentic descriptions of real-life spy stuff. Even the low thrill-factor of Red Rabbit works at evoking real-world danger here; By toning down the spectacular, Clancy makes even a simple playground conversation seem tense. Surely real spies do not behave like James Bond!

Instead, we’re treated to a historical drama made more prescient with the benefit of twenty year’s hindsight and declassified material. The role of the papacy in the fall of communism is now fairly well-documented, and Clancy can draw upon these new revelations to solidify his story.

On the other hand, he can’t resist the temptation to give his protagonists almost perfect foresight. Jack Ryan is almost cocky when he confidently asserts that the Soviet Empire will soon crumble upon itself. Other more serious anachronisms abound, mixing dates between 1980 and 1982. As a teenage Transformers fan, I was rather shocked to catch Clancy referencing the cartoon series at least three years before it was aired. Gotcha, Tom!

This laziness doesn’t stop there: on a sentence-per-sentence level, Red Rabbit is as sloppily edited as Clancy’s latest few novels. Anachronistic expressions abound, and so does a certain repetition of terms (most egregiously the infamous “pshrink”), though nowhere as bad as in The Bear and the Dragon. I have noted previously that Clancy needs an editor who will not be swayed by his best-selling status, and this is still true; you could lop at least one hundred pages off this novel without undue harm.

On the other hand, the novel as it stands right now is still fun for Clancy fans or spy novel buffs. The meticulous description of spycraft establishes an engrossing atmosphere of authenticity. While this is in no way an essential Clancy novel nor even a particularly well-integrated one (unlike Patriot Games, no mentions of the events in Red Rabbit are ever uttered anywhere in the series, which is unusual for Clancy.), it’s a pleasant read, certainly a better one than any of Clancy’s sharecropped ghost-written novels. It’ll do until Ryan’s next (and probably last) adventure.

Adaptation. (2002)

Adaptation. (2002)

ByChristian Sauvé Movie Review

(In theaters, January 2003) Brilliant at times, unsatisfying at others, Adaptation is a frustrating film that either mishandles a boffo premise, or exploits it in a way that won’t please everyone. Yes, I get the joke, that a screenwriter struggling with an adaptation wrote a script as if written by two screenwriters about the process of two screenwriters adapting a book. (Whew!) Yes, I know where reality and fiction leave off. Yes, I realize that the third act is written by “Donald” the lovable hack. But somehow, the last third also forgets to have fun and for such an amusing premise, it’s surprising to see how much Adaptation takes itself seriously at times. What could have been full of winks to the audience instead feels sloppy and unfocused. It is a deliberate artistic choice, of course, but is it the most appropriate one? Would this have been a better film if “Donald” had written the first two-third, and Charles the rest? What if the dual-personality sub-theme had been explicitly exploited? As someone with (amateur) screenwriting experience, I like anything about the creative process and love even more “wacky” movies, and yet found myself wishing for more, more, more in the latter third of the film: You’re screwing with the audience, Charlie, but why not push it even further? Was the coda truly necessary in light of the “mess up the audience” manifesto? What about the insufficient exploitation of the alternate meaning of “adaptation”? Couldn’t anything more be done with this? Where’s Robert McKee when you need him?

About Schmidt (2002)

About Schmidt (2002)

ByChristian Sauvé Movie Review

(In theaters, January 2003) One of Niven’s Laws (From SF writer Larry Niven) states “Think before you make the coward’s choice. Old age is not for sissies.” However glamorous or easy it may appear, being old sucks. Being retired is even worse. That seems to be the message of About Schmidt, a profoundly depressing look at a man who comes to realize he’s a complete failure. OK, OK, it’s not as bad as that, and Writer/Director Alexander Payne makes darn sure there’s a ray of hope somewhere. It still doesn’t make the film more enjoyable. This is the type of story built around a series of humiliation vignettes: situations are set up where the only suspense is in knowing how the protagonist will make a fool of himself. Jack Nicholson is good in one of his least Jack-Nicholsonish roles yet. But few are sympathetic in this story, and that includes one of the most obnoxious daughter role in recent memory. Older viewers will probably get much more out of this film than I did; I just couldn’t care less.

The Care and Feeding of Books Old and New, Margot Rosenberg & Bern Marcowitz

ByChristian Sauvé Book Review

St. Martin’s, 2002, 190 pages, C$32.95 hc, ISBN 0-312-30067-0

I love books. I really do. I could go on and on about how many books I read and own and cherish and how I once almost went over a table to stop someone from dog-earing a book, but just take my word for it; I love books.

The first time I saw The Care and Feeding of Books Old and New in bookstores, I knew it was something I had to get. Sagacious advice about cleaning, keeping and repairing books? Hey, I need this stuff. What Rosenberg and Marcowitz have put together is nothing short of a manifesto for serious bibliophiles. Inside its delightfully retro-looking dust jacket, there is enough advice to allow any book-lover to put his or her own library back into shape.

These two booksellers have plenty of real-world experience and their delightfully practical wisdom amply demonstrates it. Wrapped in a commonsense prose, reading this is a lot like spending a few hours with two quirky librarians with a lot of stories to tell. Take notes, because you won’t find this advice anywhere else. Most of it is simple common sense, but the rest is illuminating. This is a Complete Idiot’s Guide to Book Stewardship by another name.

This is a book that goes well beyond simple how-to advice. Some its best passages are simply about books. What they mean, what they can do, why we love them so much and why someone who is not kind to books is someone who doesn’t deserve any pity. Serious bibliophiles will read this book and feel their spirits soar through the roof of their library; it’s nothing short of a love letter to their favourite subject. There’s plenty of quotable material here, and twice as many passages to reflect upon. Expect to re-read passages every so often.

The best complaint anyone can make about this book is that it’s not long enough. It’s a shame to see it end. What’s more serious, though, is the lack of illustrations. It would have been useful to be shown some of the repair methods explained here, compare before-and-after images and quickly associate specialized terms with their visual equivalents. The authors spend so much time extolling the visual, odoriferous and tactile pleasures of books, it’s a shame to see at least the visual aspect given short thrift.

I must also confess that, as a cat-person (or, more accurately, a no-pets kind of person), the authors’ constant references to dogs, dogs and more dogs got a bit tiresome. Granted, their “real” job is selling dog books (go visit them at www.dogbooks.com). It is also true that this is, in fact, their own book (if I’m not happy, I just have to write my own). Still, it gets somewhat ironic to see them grumble against ill-mannered book handlers while scrupulously avoiding any mention of volume-chewing dogs. I have no doubts that their own dogs are particularly well-trained in this regard… but such is not the case with all pets and kids. On the other hand, this eccentricity gradually becomes charming, reinforcing the very human aspect of this book.

And ultimately, this is what The Care and Feeding of Books Old and New is all about; the connection between books and humans (canines not excluded). Beyond the cleaning-up of books, the careful storage of volumes and the ethics of book-lending, this is about the happy life of bibliophiles, the peace of reading, the beauty of written thoughts and the satisfaction of communicating. In short, it’s an essential purchase for anyone who loves books.