Author: Christian Sauvé

(On VHS, November 2000) John Cusack plays young cool professional types like no others (see Grosse Pointe Blank and City Hall), and here he plays yet another one of those, a hot-shot air traffic controller that has to defend his turf and his wife against a new hotter-shot competitor (a good turn by Billy Bob Thornton). The difference is that Cusack here is supposed to Lose It, which we never quite believe. Part of the problem is typecasting, but most of it is the script, which flits from one thing to another without really coming up with strong material. As with most docu-stories taking place in unusual and interesting environments, Pushing Tin is best when describing the unusual, and worst when inserting familiar plots in this unfamiliar setting. Here, the romantic elements take away from the pressure-cooker environment of air controllers and ultimately bring down the film to only average status. Cate Blanchett and Angelina Jolie are fun to watch as The Wives, even though Vicki Lewis is underused as one of the interchangeable other controllers.

(In theaters, November 2000) There’s a standard comedy plot shtick that drives me absolutely crazy: The one where a character is doing something completely stupid while thinking it’s perfectly legitimate, and when the deception will inevitably be discovered. The only thing you can do is count down the seconds before the character’s humiliation. Now imagine a film that spends more than forty-five minutes on that subject. Looking forward to it? If not, skip Nurse Betty, a misguided “comedy” in which a pair of hitmen kill in graphic detail and a waitress becomes so unhinged with reality that she chases a favorite soap star. Not many laughs here, nor overly impressive technical credits: The direction is flat and even if Renee Zellweger is as adorable as always, the other characters don’t manage to be very sympathetic. (Though the Latino girlfriend is pretty). Script-wise, coincidences abound and Morgan Freeman’s characters sounds as if he escaped from an unusually pretentious Tarantino movie without bringing the witty dialogue with him. Humiliation and discomfort seem to be the goal of the film, and if the result seems to confuse some critic in thinking it’s rather good, most average moviegoers will reach for the fast-forward (or even the stop/rewind) button.

(On DVD, November 2000) Not much to see here. The crazed-assassin-goes-after-the-president shtick has been done elsewhere multiple times before, and even if In The Line Of Fire is competently executed, it’s not anything new. Clint Eastwood is good in what’s probably going to end up being his last action-hero role. (The romance between his character and the one played by Renee Russo, however, should have been left on the cutting-room floor. Yawn.) John Malkovich plays the assassin as a soft-spoken super-genius, which is again either (depending on how many stories like this you’ve seen already) really good or really annoying. The bare-bones first-generation DVD release of the film basically allows you to to feel grateful that the film is playing at all, so don’t ask for extras.

(In theaters, November 2000) Ay-yay-yay, how ordinary can you be? I imagine the pitch for this film being roughly “Hey, I’ve got twenty minutes of wild Cocktail-for-chicks bar stuff! Any one of you can dust off one of your rejected romance plot to fluff it up?” Sure, Piper Perabo look cute and the rest of the waitresses at the “Coyote Ugly” (that wiiild bar) are pretty hot even when fully clothed, but the rest of the film is a complete bore, showing us a trite romance that we must have seen countless times already. Shamelessly manipulative, often ridiculously implausible, laughably “edgy” (being a struggling songwriter is never so glamorous as in a Jerry Bruckheimer-produced film) and all-and-all rather forgettable, Coyote Ugly delivers what no one expected from it; utter averageness.

(In theaters, November 2000) Halfway through the film, I leaned over to a friend and whispered “I can’t decide whether this is getting better or worse” and that will stand as a nutshell review. On one level, it’s one of the worst blockbusters of 2000: Hyperactive editing, sexist imagery, thin characters and one of the most incoherent script seen so far. On the other hand, it’s directed with such reckless audaciousness and played with such bouncy abandon that it’s hard not to be swept along with the fun. The film starts in high gear and never lets up. Film students will go bonkers trying to decode the cinematic techniques used by director “McG”, as he throws everything at the screen, often at the same time. Surprisingly or not, Charlie’s Angels pushes back the cinematic techniques at a pace comparable to the more “serious” filmmakers. What helps to swallow the disjointed script (obviously written on-the-fly, as demonstrated by out-of-nowhere sequences like the car chase) is an intermittent self-awareness that winks at the audience. Also notable is the great soundtrack, which often doubles as ironic commentary (the use of The Prodigy’s “Smack my bitch up” during a fight scene between the thin man and the three angels is either a product of complete cluelessness or subversive brilliance) Despite a reportedly difficult shooting, all of the four main players look like they’re having as much fun as we do: Lucy Liu and Cameron Diaz are adorable as always, Bill Murray is his usual dependable self and Drew Barrymore is surprisingly good. (A mention goes to Crispin Glover in a silent, but effective, role) Charlie’s Angels will probably remain as a film that gets no respect, but tons of fans.

(Second viewing, On DVD, July 2001) I’ll admit that this isn’t a movie for everyone. Animated with a hyperkinetic energy that tramples down any attempt at conventional criticism, Charlie’s Angels nevertheless features a basic self-awareness that helps a lot in respecting the film for what it is, and the DVD version of the movie confirms many suspicions in this regard. Surprisingly, the film is almost as much fun on a second viewing, mostly because there’s never a dull moment. The editing is rapid but not chaotic, the directing is much better than initially apparent (watch for those lengthy single shots, a clear indicator that director “McG” is more than your usual music-video director) and the overall sense of fun simply doesn’t let go. Great action sequences, a fabulous soundtrack and oodles of sex-appeal are the icing on the cake. Dig down through the plentiful extra features on the DVD, and you’ll understand why the film works so well: The lively audio commentary makes it clear that everyone involved in the film knew they were doing a comic-book film, and they’re justifiably proud of what they achieved. No social relevance; just fun. Worth not only a look, but a second look.

(In theaters, November 2000) You can evaluate films on artistic merit, or you can just measure how much fun you had while watching it. Well, Bring It On is unquestionably one of 2000’s most enjoyable films, an irresistibly bubbly teen comedy executed with skill and above-average intelligence. A rather complete surprise, considering that you wouldn’t except a teen sport comedy about cheerleading to be anything but fluff. But while Bring It On doesn’t break out of the teen genre as, say, Election did, it remains as one of the best recent entries in the genre. The script very good, filled with good one-liners, properly acknowledging clichés and managing non-boring relationship scenes. The actors all look like they’re having fun, with Kirsten Dunst continuing her good career choices. (In fifty years, I suspect she’ll pop up that film once in a while just to bask in the glory of how good she looked and how well she performed.) Technically, the choreography of the cheerleading scenes is really impressive and the soundtrack is very good (Even somewhat clever, linking 2 Unlimited’s “Are you ready for this” to a trite, unoriginal routine. Ho-ho!) From its incredible first scene (a masterwork of structure, introducing the main characters in a wild-out dream sequence) to its bouncy sing-along credits, Bring It On is one of the year’s surprise delights, a teen film that’s enjoyable well beyond its simple voyeuristic appeal. Though that’s not to be neglected either.

(Second viewing, On DVD, July 2001) Among the dreck that passes off as teen films, you occasionally get a smart film that either goes beyond the teen genre (Election) or simply works so well that everyone can get into it (Ferris Bueller’s Day Off). Bring It On is another example in that last category, a fun film without any pretensions, but made with considerable cleverness by people with perspective and respect for the audience. The film is a blast even on a second viewing, and the director’s audio commentary is worth another viewing by itself. (Choice quote, which probably explains the appeal of Bring It On to me: “I tried making a cheerleader film with a punk sensibility”.) You might even pick up a few of the subtle messages (No!) vehicled by the film. Impossible not to smile and cheer for a film when everyone involved looks like they’re having that much fun! Be sure to check out the “deleted scenes” section of the DVD, which features great scenes you’ll wish had remained in the finished product. I love the film more than ever, and easily confirm its standing on my 2000 Top-10 list.

(On VHS, November 2000) Not all films are for everyone, but frankly I’d start worrying about anyone with the inner will to sit through Breaking The Waves‘s seemingly interminable duration. If the annoying characters don’t make you run for the exits, the “naturalistic” dialogue and the awful shaky-cam direction will surely make you hurl. If I wanted to be generous, I’d say that the “realistic” style of the film is exceptionally good at representing the unpleasantness of the story, but that’s really faint praise compared to the rest of the film’s flaws. My attention eventually drifted off, only returning occasionally for nude scenes (nothing to see here) or a character’s death. (which was applauded, for it signaled the impending end of the film.) Only hard-core art-film buffs need apply, I guess.

(On VHS, November 2000) Horror film, released on Halloween weekend 1999 and in the “classic” section of your video store barely a year later. Sounds bad? It is. Ridiculous script, unconvincing special effects, adequate acting (at least it’s good to see Lou Diamond Philips and Dina Meyer working again) and familiar plotting make this a rather innocuous film, not worth a bother but with the potential to amuse (perhaps not as intended) if there’s nothing else to do.

(Second viewing, On DVD, November 2000) Unjustly forgotten by audiences and dismissed by critics upon its initial release, James Cameron’s underwater epic was partially redeemed in 1992 is it was re-released on video as a longer “special edition”. But this fantastic two-disc DVD edition really does justice not only to the exceptional film, but also to the stunning technical difficulties encountered during the film’s production. Tons of extras make this edition a must-buy for the film’s fans. (Don’t make the mistake of renting it, or you’ll despair at how little time you’ll have to watch it all.) Technical production values are insanely high, and they hold up amazingly well in this era of computer graphics (which it helped along, really). A great film by any standards. See it again.