An Aisle Seat Thanksgiving Feast
Andy reviews SOLARIS, James Bond & Harry Potter
Plus: A Bounty of DVD Reviews from GLENGARRY to TOY
By Andy Dursin
The annual arrival of Thanksgiving means that the holiday movie season
is in full swing.
I was fortunate enough to get a look at Steven Soderbergh's SOLARIS
the other night, which unfortunately delivers a turkey of its own this
weekend (I counted at least 20 people who got up and walked out during
the Monday screening I attended). Also opening are movies ranging from
Wes Craven's latest critically lambasted horror effort, THEY, to the Adam
Sandler animated romp EIGHT CRAZY NIGHTS, joining the plethora of (better)
choices movie-goers already have at their disposals this holiday season.
After a look at SOLARIS, scroll down for some brief thoughts on HARRY
POTTER and the latest James Bond epic, DIE ANOTHER DAY, and -- of course
-- a round-up of new DVD releases for your viewing pleasure.
New In Theaters
SOLARIS (*1/2): Steven Soderbergh's adaptation of Stanislaw Lem's
novel runs nearly half as long as Andrei Tarkovsky's 1972 Russian adaptation,
but the abbreviated running time results in a movie that barely scratches
the surface of the original's deep meditation on life and human existence.
George Clooney, who also co-produced (along with James Cameron), plays
Chris Kelvin, a psychologist called into space to retrieve the crew of
a space station orbiting the planet Solaris. The crew members have become
prone to illusions and the two surviving members -- Snow (Jeremy Davies)
and Helen (Viola Davis) -- attempt to persuade Kelvin to leave before he,
too, becomes the victim of Solaris' unseen, possibly extraterrestrial force.
Instead, Kelvin stays and succumbs to the temptation of seeing his dead
wife, Rheya (Natasha McElhone), brought back to life as a seemingly living
organism. In the process, her resurrection not only brings back Kelvin's
love and affection for his deceased bride, but also the pain, guilt, and
anxiety that stemmed from Rheya's ultimately suicidal impulses. Despite
the fact that Rheya isn't REALLY Rheya, Kelvin becomes convinced to stay
in the space station's orbit around Solaris in an attempt to change the
past and make it right.
Soderbergh has fashioned a beautifully shot and hauntingly scored (by
Cliff Martinez) film, no question there. SOLARIS raises timeless issues
of coming to terms with the past, neglecting reality and settling guilt,
but somehow Soderbergh's 92-minute film -- reportedly re-cut from a longer,
two-hour version -- never satisfyingly elaborates upon the topics it so
tantalizingly raises. It's a pretentious, dull, and cold misfire that rarely
instills in its viewers the emotions that are supposed to be gripping its
The side characters in the space station are treated as throwaways,
with neither role being developed enough to make any kind of impression
(ditto for the "images" they've been seeing -- one of many plot elements
left unexplored). Clooney and McElhone naturally fare better in their main
roles, and yet Soderbergh's script fails them both in two key areas.
There's not enough development of Kelvin's character for us to identify
with him, and not enough convincing transition between the doubt over what
he's seeing and his mounting obsession to reconcile his wife's tragic fate
with a new future. The movie feels completely detached and the characters
soulless, which is a rather large problem for a movie about strong human
emotions and the highs and lows associated with them.
What also doesn't work is the character of McElhone's dead wife/"Solaris
being" and the often abrupt switch in her character's identity. Is she
a self-conscious being separate from Kelvin's wife, just a fragment of
his imagination, or a combination of those elements? Again, there's not
enough dramatic development of her conflicted nature so that we care about
what happens, and there's no payoff at all in the resolution of the picture,
which has a strange, "Sixth Sense" kind of finale (are they dead? are they
alive?) that seems completely tacked-on.
SOLARIS is a great-looking picture that will still be worth a look for
aficionados of the original version, but dramatically and emotionally,
it ultimately fails on almost every level.
One final note: while I certainly wouldn't pin the movie's downfall
on his acting, Jeremy Davies' absolutely dreadful performance as a scatterbrained
space station survivor has to go down as one of the worst in recent memory.
His affected delivery reminded me of comic Richard Lewis, and the film
might have been a good deal more entertaining had Lewis been on-hand to
provide some of his shtick. As it is, the crowd I viewed the movie with
roared with laughter when an elderly audience member shouted out "he's
TERRIBLE!" during the last of Davies' endless speeches. (92 mins., PG-13)
DIE ANOTHER DAY (***): Pierce Brosnan's fourth
outing as James Bond proves to be a strictly formula affair -- but how
many 007 epics aren't? If you can get past the fact that nearly every plot
point is overly familiar, DIE ANOTHER DAY is robustly entertaining and
much more energetic than several of Brosnan's previous adventures.
The story, penned by Neal Purvis and Robert Wade, finds Bond being jailed
after knocking off a North Korean general -- or so he thinks. Flash-forward
over two years later, and 007 is freed, only to learn that the general's
brother (Rick Yune) is still alive and inflicting terrorist havoc around
the globe. What's worse, M has stripped Bond of his license to thrill,
which does prove to be only a minor problem as James quickly escapes from
a government hospital in Hong Kong. Evidence quickly points to the North
Korean's involvement in diamond embezzlement and a genetics clinic in Cuba,
where Bond meets up with a sexy American agent (Halle Berry) in an effort
to track down the missing terrorist.
Yes, a lot of DIE ANOTHER DAY plays like recycled elements from the
more recent Bonds. Brosnan is OK but once again he has little to do in
terms of dialogue and feels less like Ian Fleming's creation than the leading
man in a generic action film. I'm also getting tired of Judi Dench's constant
worried look as M, especially in scenes near the climax where Bond is in
trouble. The movie's main title sequence is an interesting misfire, attempting
to play homage to Maurice Binder while simultaneously showing 007 being
tortured at the same time (and no, it doesn't work, especially not with
Madonna's terrible "bump and grind" techno theme song). And whatever happened
to the copious references to past 007 films? (this was supposedly a 40th
Anniversary film, was it not?).
That all being said, there's much to enjoy in DIE ANOTHER DAY. Unlike
"The World Is Not Enough," there's an abundance of energy in terms of the
performances and direction (by Lee Tamahori) here.
Brosnan seems a little more comfortable, Berry is fine in a somewhat
standard heroine role (meaning she's under-utilized), while fetching newcomer
Rosamund Pike and the Guy Pearce-like Toby Stephens acquit themselves nicely
as 007 antagonists. The plot actually works well in comparison to recent
Bond adventures (at least for two-thirds of the way), and there are some
well-done stunt sequences, including an improbable but fun car chase through
a melting "hotel" in Iceland. David Arnold's score doesn't mesh well on
the soundtrack album, but it again works solidly in the film itself, with
little of Madonna's inane title track heard outside of the credits (she
does, however, put in a thankfully brief cameo as Bond's fencing instructor).
Even the slam-bang climax manages to be more interesting than usual,
making DIE ANOTHER DAY a choice viewing for Bond fans of all persuasions.
HARRY POTTER AND THE CHAMBER OF SECRETS (***1/2):
Second cinematic installment of J.K. Rowling's beloved novels proves to
be more relaxed and even more entertaining than the original.
This time, the beloved boy wizard is wrapped up in an unknown evil that's
causing harm to various students at Hogwarts, which -- speaking of the
magical campus -- boasts a new teaching wizard (Kenneth Branagh, in a delicious
performance as Gilderoy Lockhart) and plenty of surprises for Harry (Daniel
Radcliffe), Hermione (Emma Watson), and Ron (Rupert Grint), all enrolling
in their sophomore year. Among the highlights: a spectacular confrontation
with giant spiders in the dark forest, a slithering serpent, a young girl's
ghost, and the introduction of Fawkes the Phoenix.
All of the same cast and crew members that brought "Harry Potter and
the Sorcerer's Stone" to life are back for this sequel, which results in
more wonderful sets and plenty of memorable moments. John Williams' now-classic
themes are reprised by conductor William Ross, though fortunately this
is a far from "Adapted and Conducted by Ken Thorne" situation (indeed,
it seems Williams was much more "hands on" in this score than in similar
circumstances in the past). Steve Kloves' script, meanwhile, takes its
time establishing character and setting here, but the basic story is more
captivating because there's less set-up and more time spent on the basic
premise and mystery at-hand.
While the identity of the villain, once revealed, may prove to be a
little convoluted for those who didn't read the books, CHAMBER OF SECRETS
is a thrilling ride most of the way. The performances of the child actors
are solid and contrast nicely with the uniformly fine work of the adults,
particularly Jason Isaacs as the deceitful father of Harry's rival.
Grand, classy stuff, and about as magical a sequel as one could have
hoped. (PG, 162 mins.)
New On DVD
GLENGARRY GLEN ROSS (***1/2, 100 mins., 1992, R; Artisan): David
Mamet's acclaimed, Pulitzer Prize-winning stage play -- a cutting chronicle
of desperate salesmen -- was brought to the screen by director James Foley
in 1992. With a superb cast articulating Mamet's crackling dialogue, GLENGARRY
GLENROSS isn't extraordinary filmmaking but it IS a great film just the
It all boils down to acting. I mean, where else can you see a cast like
this? Al Pacino, Jack Lemmon, Alec Baldwin (back when he concentrated on
acting instead of politics), Ed Harris, Alan Arkin, and a young Kevin Spacey,
all giving strong performances as real estate salesmen going after a new
lead that has mysteriously disappeared from their office.
Foley's film was criticized as being little more than a filmed stage
play, but when you have this kind of cast assembled and strong source material
to work with, why do anything else? Lemmon is terrific as an especially
sad individual whose best times have long since past, while Pacino does
his usual shtick as the #1 new salesman and Baldwin -- to his credit --
brings a great deal of intensity to his part, which was written specifically
for the film by the author.
Artisan's long-awaited DVD of GLENGARRY GLEN ROSS offers both 2.35 and
full-screen versions of the film. Foley shot the picture in Super 35, meaning
the full-frame version loses a little on the sides but gains picture at
the top and bottom. Still, while the full-screen edition may be better
for more intimate close-ups, the 2.35 edition is much more comfortably
composed and recommended.
For supplements, Artisan has included a sporadic audio commentary with
Foley, which is somewhat of a disappointment since Live/Pioneer released
a Special Edition laserdisc some years ago that contained a full-length
discussion by the director. A tribute to Jack Lemmon is one of the disc's
highlights, offering new interviews and recollections of the star with
comments from his acting brethren and family members (including son Chris).
Another new 30-minute documentary, "A.B.C. (Always Be Closing)," intersperses
comments from real-life salesmen with cast members, and it's of adequate
interest. A bonus "hidden" commentary proves to be somewhat underwhelming,
including the director of photography, Arkin and Baldwin offering brief
comments on their work on the picture. Better is a segment from the "Charlie
Rose Show" with Lemmon, and a brief, throwaway bit with Spacey on "Inside
the Actors Studio." Sadly, no trailer has been included.
While the extras prove to be a little on the disappointing side, Artisan's
strong transfer and the sheer strength of the film itself make GLENGARRY
GLEN ROSS an essential DVD purchase for movie buffs just the same.
TRIUMPH OF LOVE (**1/2, 108 mins., 2002, PG-13;
Paramount): Mira Sorvino tries her hardest in this Italian/British co-production
presented by Bernardo Bertolucci and directed by his long-time associate,
In this adaptation of a Marivaux play set in 1732, Sorvino plays a Princess
who infiltrates the villa of her exiled, long-time enemy (Jay Rodan), whom
she has fallen in love with. Rodan is living with a stuffy philosopher
(Ben Kingsley) and his sister (Fiona Shaw), and Sorvino manages to win
them over before revealing her true identity.
Peploe tries valiantly to open up the play for the big-screen, but the
movie never quite manages to escape the fact that it's a piece intended
for the stage -- it just has that creaky, set-bound feel to it. That said,
the movie is still airy and lightly entertaining, coasting along on the
fine performances of Sorvino, Shaw, and Kingsley, along with warm cinematography
by Fabio Cianchetti and a prim and proper period score by Jason Osborn.
TRIUMPH OF LOVE is by no means a great film but it's certainly better
than the scant distribution and mediocre reviews it received from the few
critics who saw it. The picture is wonderfully performed and fun, despite
its claustrophobic feel, and is well worth a view.
Paramount's DVD offers a colorful 1.85 transfer and 5.1 Dolby Digital
soundtrack. This is a superb presentation from the studio, though there
are no special features available on the disc, making it a rental option
more than anything else.
THE DANGEROUS LIVES OF ALTAR BOYS (**, 105 mins.,
2002, R; Columbia TriStar): Kieran Culkin and Emile Hirsch play a pair
of altar boys growing up in Chicago during the '60s, whose out-of-church
behavior ends up landing the dynamic duo in a heck of a lot of trouble.
Jodie Foster, who co-produced the film, plays a strict nun who doubles
as the boys' chief nemesis, both in the main story and the film's copious
amounts of animated sequences, where Culkin and Hirsch's comic-book alter-egos
do battle with an exaggerated version of Foster dubbed "Nunzilla."
Peter Care directed this adaptation of Chris Fuhrman's book, which careens
wildly from a tender coming-of-age story to a melodramatic "Afterschool
Special," complete with a cute young girl (Jena Malone) with dark secrets
and a teary, tragic ending. Despite the picture's "edgy" tone and the presence
of both Foster and Vincent D'Onofrio (as a somewhat understanding priest),
THE DANGEROUS LIVES OF ALTAR BOYS is contrived in both its story and execution.
Jeff Stockwell and Michael Petroni's screenplay tends to telegraph its
major plot points, and while the performances of Culkin and Hirsch are
fine, the film only comes alive during its animated sequences, produced
by Todd McFarlane and Terry Fitzgerald.
Columbia's DVD is a superb special edition. The 1.85 transfer seems
a little tightly framed but looks good overall, while the 5.1 Dolby Digital
sound contains some intermittent bursts of surround activity at various
points (Marco Beltrami scored the film with Joshua Homme nabbing a credit
for additional music).
On the supplementary side, Care and Stockwell provide a chatty audio
commentary, while Todd McFarlane discusses his animated scenes in a separate
segment. A Sundance Channel featurette, cast and crew interviews, a few
deleted scenes, trailer, and TV spots round out a nice disc for an ultimately
disappointing film that lets its fine cast down. (For a superior film about
growing up set against a Catholic backdrop, check out the woefully underrated
1985 film HEAVEN HELP US, sporting an early score by James Horner).
TOY SOLDIERS (***, 1991, 112 mins., R; Columbia
TriStar): OK, so call it a guilty pleasure. TOY SOLDIERS is basically "Die
Hard" meets "Dead Poets Society" (now there's one that should have been
on the press junket), and every bit as gleefully entertaining (if predictable)
as that sounds.
Sean Astin (in his pre-RUDY days) plays a rebellious rascal at an uppity
Virginia boarding school whose buddies (including Wil Wheaton and Keith
Coogan) end up having to save the day when terrorists seize their home-away-from-home.
Lou Gossett, Jr. is their strict but ultimately sympathetic dean, while
Denholm Elliott and an unbilled Jerry Orbach round out the adult end of
David Koepp co-scripted this formulaic but definitely fun action romp,
directed by Daniel Petrie, Jr. and edited by Steven Spielberg's long-time
associate, Michael Kahn. The performances are all amiable and the location
filming scenic enough to the point where the movie doesn't feel overtly
claustrophobic. Also a plus is Robert Folk's memorable orchestral score,
with a pretty main theme that was recycled in movie trailers throughout
the duration of the 1990s.
Columbia's DVD is one of their lower-priced, no-frills DVD editions.
The full-frame only transfer may disappoint 16:9 TV owners, but it seems
to be an open matte transfer meaning that picture area has been opened
up at the top of the frame without any loss to the sides. The result is
a comfortably framed transfer which exhibits only a bit of graininess here
and there. Sound wise there's a decent 2.0 Dolby Stereo soundtrack, though
only a few bonus trailers for extras.
Still, for action fans craving some '90s brainless entertainment, TOY
SOLDIERS more than fits the bill and comes recommended on DVD.
REIGN OF FIRE (**, 102 mins., 2002, PG-13; Buena
Vista): The year's best example of how a good trailer can be cut for a
hugely disappointing film, REIGN OF FIRE is a formulaic genre outing spared
from the trash bin by Matthew McConaughey's hysterical performance as an
American dragonslayer on a future Earth where fire-breathing beasts have
enslaved the planet. How and why this happened is explained in a couple
of throwaway lines of dialogue -- the rest is dull filler, chronicling
the exploits of rag-tag Brits (lead by the film's real star, Christian
Bale) attempting to remain in their ragged "Waterworld"/"Mad Max"-like
society while dodging the prehistoric monsters. One day a group of Americans
arrive -- lead by the bombastic McConaughey -- who have a more direct approach
to dealing with the dragons: they kill them. Using an Air Force chopper
and plenty of firepower at their disposal (how they're able to recharge
their weapons or find fuel is never discussed), the Yanks take down one
beast, but then -- in the film's funniest scene -- McConaughey chews out
the Brits for throwing a "soiree" over it.
"X-Files" vet Rob Bowman directed this hugely disappointing genre film,
which offers no surprises or any suspense whatsoever (even Ed Shearmur's
score is often a direct rip-off of "Aliens"). In fact, the film is so thoroughly
routine that you'll find yourself on DVD fast-forwarding through it to
find the special effects sequences, which themselves are competent but
nothing extraordinary. This certainly isn't on the level of "Dragonslayer"
or even the similarly disappointing "Dragonheart" -- what REIGN OF FIRE
is, unfortunately, is a tired old, post-apocalyptic film whose creators
should have spent energy on cultivating a good script, not a glitzy marketing
campaign.That said, McConaughey's balls-out performance makes watching
the film on DVD a lot more palatable than having to pay to see it in theaters.
Buena Vista's DVD offers a dark but satisfying 2.35 transfer and a predictably
active 5.1 DTS and Dolby Digital soundtrack. Supplements are pretty sparse:
a pair of promotional featurettes look at the special effects and production
of the film, while director Rob Bowman comments on his technique in a more
revealing 15-minute discussion. The movie's trailer, which as I mentioned
does a sensational job selling the movie, rounds out the package.
NEXT WEEK: Here come the MEN IN BLACK (again!),
plus J-Lo's latest, ENOUGH, and more comments to spare. Send an email to
firstname.lastname@example.org and Happy Thanksgiving