DVD/VIDEO: Crossing Delancey

CROSSING DELANCEY

(1988)

My Rating: ** (out of *****)
Starring: Amy Irving, Peter Riegert, Reizl Bozyk, Jeroen Krabbe, Sylvia Miles, Rosemary Harris
Director: Joan Micklin Silver

My Review:
“Tepid” is the best word I can think of to describe this wannabe charmer about a 33-year-old woman living single in New York City who - despite protestations about being “happy” the way she is - stumbles through her days as a bookseller in a quaint little downtown shop, moving casually from lover to lover in an attempt to find the right guy.

Isabelle “Izzy” Grossman (Amy Irving, who manages despite a scary 80s frizz mop) sees herself as independent, successful, and contented, though even we don’t believe her when she says so. Her traditional Jewish grandmother Bubbie (big screen newcomer Bozyk, adding some spark to a clichéd role) certainly doesn’t think so, and, with the help of a local matchmaker (Miles, absolutely frightening), arranges a date for Izzy with the local pickle salesman (a delightfully understated Peter Riegert, the only person in the film we care anything about).

The pickle guy, it turns out, is really cool – he’s fun, understated, confident, a hard worker, relatively attractive, and single. Does Izzy go for him? Nah. She prefers to flirt with a soft-core romance writer who’s so apparently sleazy (and married) that he might as well have a gold tooth and a bright-colored suit. Oh yeah, and she likes to oblige another married man, Nick (John Bedford Lloyd, looking like a homeless person), with occasional “sleepovers” at his convenience. Does this girl have any self-respect or what? Alas, Izzy’s stupidity when it comes to choosing men is so grating that we end up not really caring what happens to her. When she finally wises up and realizes that Sam the pickle man is a good catch, we’re saying: “No way, bro. She doesn’t deserve you.” And indeed, seconds before “choosing” Sam, Izzy was ready to give it away to the smarmy writer until she realized that he was essentially buying her. Ugh.

Granted, Crossing Delancey is not without its moments. As indicated, anytime Peter Riegert is onscreen, we actually have someone to root for, someone to care about. And, Reizl Bozyk as the grandmother does liven things up here and there. Overall, however, the pacing is weak, the music horrendously outdated, the cinematography unspectacular, and the writing less than inspired. Alas, the fatal flaw lies in the fact that, despite Irving’s best efforts, Izzy remains an unsympathetic character.

Doubtless, there are many who love and will love this hopelessly dated 80s feel-good flick. Call me crazy, but I’ll take Sleepless in Seattle over this silliness any day of the week.

PG, for some language including a scene with vivid sexual dialogue, and for brief partial nudity

CLASSICS CORNER: 'Breaker' Morant

‘BREAKER’ MORANT (1980)

My Rating: **** (out of *****)
Starring: Edward Woodward, Jack Thompson, Bryan Brown, John Waters, Charles Tingwell, Terence Donovan, Ray Meagher, Lewis Fitz-Gerald, Rod Mullinar
Director: Bruce Beresford

My Review:
Based on actual events, ‘Breaker’ Morant presents a harrowing account of three soldiers in the British military’s Bushveldt Carbineers who were suspiciously court-martialed near the conclusion of the Boer War in early 1900s South Africa. When one of their comrades is ambushed and killed, Lt. Harry ‘Breaker’ Morant (Edward Woodward – flawless), Lt. Peter Handcock (a feisty Bryan Brown), and Lt. George Witton (newcomer Fitz-Gerald) do what they have been told to do – they seek revenge and kill some Boer soldiers. Instead of business as usual, however, they are charged with murder (and are also implicated in the mysterious disappearance and death of a German missionary) and are promptly arrested.

Essentially a courtroom drama, ‘Breaker’ Morant opens with these three men facing a court-martial proceeding in which their defender is Major J.F. Thomas, a small-town Australian solicitor who was only given one day to prepare for the case. This was also Major Thomas’ first court-martial in which he served as defending attorney. Through a series of well-constructed and progressively revealing flashbacks, it becomes clear that more than these soldiers’ reputations are at stake. Indeed, their very lives are at risk. While all of the facts are unclear, one thing is certain: the British military leaders responsible for calling the court-martial have a secret agenda that aims to use these soldiers at whatever cost to further their cause, which is – ironically – to bring an end to the war.

Bruce Beresford (Driving Miss Daisy) masterfully directs this tragic and maddening tale of injustice and hypocrisy that invites us to chew on a most provocative question: Should soldiers be treated and tried as murderers for doing what they are commanded to do by their military leaders, which is of course, in war, to kill? You can feel your blood boil while watching these men - far from “innocent” in the sense that we normally consider the term, but doing only what you or I would probably have done in the same circumstances - being repeatedly mistreated and manipulated so as to serve the British military’s “higher” cause.

In addition to telling a powerful story, Beresford also elicits some marvelous performances from his very talented cast. As mentioned earlier, Woodward couldn’t be better as the wry and magnetic Morant. Brown also creates a palpable fire as Morant’s hot-headed and short-tempered compatriot. But the real standout is Jack Thompson as Major Thomas, whose electrifying portrayal rightfully earned him Best Supporting Actor honors at Cannes. He enters the film quietly, almost clumsily, but quickly unleashes a righteous anger not unlike that displayed by Jesus at the cleansing of the temple in John 2.

In addition to these many strengths, ‘Breaker’ Morant is exquisitely photographed. The final scenes in particular create a shattering contrast between the spacious, barren beauty of the landscape and the terrible darkness of the unfolding events. On that note, the only detriment that can be spoken about this film lies in the oppressive sense of despair which is its parting gift to the viewer. Don’t misunderstand me – I don’t need happy endings. My favorite movie is Dead Man Walking, for goodness sake. But there’s a pervasive and suffocating sense of hopelessness at the conclusion of ‘Breaker’ Morant that almost makes the entire effort seem rather pointless. That caution aside, this cinematic powerhouse is highly recommended.

PG, for some intense scenes of war-related violence and bloodshed, thematic elements, some language, and brief sensuality

ART HOUSE OFFERINGS: On A Clear Day

ON A CLEAR DAY (2006)

My Rating: **** (out of *****)
Starring: Peter Mullan, Brenda Blethyn, Sean McGinley, Jamie Sives, Billy Boyd, Ron Cook, Jodhi May, Benedict Wong
Director: Gaby Dellal

My Review:
There’s absolutely nothing in the plot of On A Clear Day – a warm-hearted Scottish comedy-drama – that hasn’t been seen before, and many times over at that. The down-and-out hero, the quirky group of friends, the impossible mission, the hours and hours of training, the strained relationships that need mending… they’re all about as “done” as an overcooked meat loaf. So, it’s no small wonder that first-time director Gaby Dellal manages to take a completely unoriginal story and, with the deft help of screenwriter Alex Rose and a top-notch group of character actors, turn it into one of the most ingratiating motion pictures in years.

Frank (Peter Mullan, pitch-perfect as always) is having a midlife crisis. He’s just lost his job at the shipyard, and his relationship with his adult son Rob (Sives) is strained to the point of breaking. Frank’s loving wife Joan (Brenda Blethyn) doesn’t know what to do with him, but the fact that she’s secretly training to become a bus driver doesn’t seem to be helping things. Things take a sharp turn when, at a random comment from his friend Danny (of the aforementioned group of quirky pals), Frank takes it upon himself to swim the English Channel. His friends agree to help with training, but Frank keeps his intentions hidden from his wife and son. In the process, each member of this ragtag ensemble learns a thing or two about determination, truth, forgiveness, and most of all, courage. Of course, everything must be faced in the end, including a mysterious tragedy that seems to be at the root of Frank and Rob’s estrangement.

At first, the editing in On A Clear Day is a bit clunky, and, combined with the sometimes edgy cinematography, the film feels almost uneasy and jumpy. After about 20 minutes, it settles comfortably into formula, and from there on out, jets smoothly and effectively on its way. The Scottish locales and dry, understated sense of humor go a long away in helping the familiar seem fresh, and as mentioned, director Dellal hits all the right notes of drama, pathos, humor, and inspiration. But it is ultimately the cast that makes this film soar. The friends – Boyd, McGinley, Wong, and Cook – are impeccable, Sives is moving as the frustrated Rob, and Blethyn remains her perky, radiant self as the bewildered Joan. But it is Mullan who holds this picture in place. He flawlessly captures the heartbreak, anger, self-hatred, and hope that seem to swirl around inside Frank in a way that appears effortless. His performance is one to cherish.

This is a “feel good” movie that you can feel good about giving yourself to. After a shaky start, it becomes clear that Dellal knows what she’s doing, making us perfectly willing to place ourselves in her more than capable hands. While not as stellar as last year’s Scottish gem Dear Frankie, On A Clear Day easily ranks as one of the year’s best so far. It deserves to be seen and delighted in.

PG-13, for some language including crude sexual references, thematic elements, and brief partial nudity

NEW IN THEATERS: Silent Hill

SILENT HILL (2006)

My Rating: *** (out of *****)
Starring: Radha Mitchell, Laurie Holden, Sean Bean, Jodelle Ferland, Deborah Kara Unger, Alice Krige, Kim Coates
Director: Christophe Gans

My Review:
To date, I have not heard people speak of a movie based upon a video game as being anything but sub par. My limited experience with viewing such “adaptations” has more than confirmed this (Super Mario Bros., Final Fantasy: The Spirits Within). Silent Hill, based on the wildly popular game series of the same name, distinguishes itself by being the first successful attempt at video-game-to-film adaptation. By successful, I mean that it actually works as a film, though it is certainly not without serious flaws. In fact, the shortcomings of Silent Hill are especially painful because of the fact that most of the film is so good. Alas, there are three sequences in which the depraved gore (already heavy throughout the film) becomes so sickly, perversely gratuitous as to leave a lasting negative impact that taints the entire experience.

Silent Hill is like someone's worst nightmare, crammed into a two-hour movie. Rose Da Silva (a reliable Radha Mitchell) is desperate to help her daughter Sharon (Ferland, the latest in a growing line of creepy little horror movie girls), who suffers from dangerous sleepwalking and terrifying nightmares in which she mumbles incoherently about a place called Silent Hill. Rose – against the wishes of her husband (Sean Bean, underused) – takes Sharon to the town, a deserted hamlet in West Virginia that is haunted by a dark past involving mysterious underground fires. A heroic cop (Laurie Holden, the most likable character in the movie) follows her into the town. They all soon learn that Silent Hill is not the fog-encircled ghost town that it appears to be. Horrifying, murderous, distorted monsters and creepy religious cultists soon terrorize them in unimaginably deranged ways.

After leaving the screening of Silent Hill, I have been unable to rid myself of the bizarre, grotesque images that pervade this film. Nor have I been able to shake that distinctly sad and haunting feeling that often comes when waking from a bad dream. For horror film fans, Silent Hill is exceptional, providing plenty of thrills, buckets of graphic gore, extremely disturbing images (the burning corpses, the nurses, and a devilish figure known by game fans as Pyramid Head... Yikes!), and an atmosphere to kill for.

For the person looking deeper, Silent Hill offers some very interesting and profound meditations on denial, guilt, the nature of judgment, and the bond between parent and child (especially mother and daughter). The film also provides a vivid depiction of the devastating truth that evil not repented of (especially under the guise of "righteousness") breeds more and even greater evil that can only be faced with denial (which leads to even greater suffering) or the truth (which leads to its own difficult consequences).

For the person who likes both (horror and depth, that is), Silent Hill delivers and then some. As mentioned, however, the filmmakers push what are already some of the most hellish images captured on screen too far in three scenes that I wish I had never witnessed, and will never re-watch should I see Silent Hill again. These sequences seem to take a sadomasochistic pleasure in depicting horrific pain and suffering in exceptionally bloody and grotesque excess. The taste that they leave is so bad that the entire experience is, most unfortunately, permanently sullied. Without these scenes, Silent Hill would have easily garnered a four-star rating from this reviewer.

On a technical note, the creation of atmosphere – using masterful cinematography, visual effects, make-up, costumes, set design, and music - is simply amazing. Very few films cast as gripping and hypnotic a spell as this one. As some film critics have been stating, witnessing Silent Hill is something akin to entering hell itself.

The acting and scripting are serviceable, though there are certainly some clunky lines and less-than-thrilling moments of delivery from the actors. French director Christophe Gans succeeds in building up tension and suspense, with the only weakness coming from an overly explained and somewhat clichéd finale.

As a horror film, Silent Hill excels. Overall, the film is a worthy effort, though it could have achieved greatness had it used some restraint. As a final aside, anyone who would allow a child to see this film is suffering from a serious lapse in judgment. This is one graphic, nasty movie. Discerning adults and older teenagers only!

R, for strong graphic horror violence and moments of explicit gore, extremely disturbing images, intense thematic material, brief partial nudity, and some strong language

VIDEO: 42 Up

42 UP (1999)

My Rating: ***** (out of *****)
Director: Michael Apted
Editor: Kim Horton

My Review:
Who says you can never go home again? With the Up series (starting with Seven Up in 1964 and continuing with a new chapter every seven years since), British filmmaker Michael Apted (Coal Miner’s Daughter, Blink, Nell) gives us the almost unheard of – and absolutely delightful – experience of returning.

Back in 1964, Apted began interviewing fourteen English children from various racial, religious, and socioeconomic backgrounds, when each child was seven years old. Every seven years, he returns to follow up and see how they are doing (28 Up, 35 Up, and 42 Up are each available on videocassette). What must be thousands upon thousands of hours of footage are poignantly and perfectly edited by Kim Horton and impeccably presented by Apted in what is arguably the best documentary ever made.

Apted comes from the perspective of the Jesuit maxim: “Give the child when he is seven, and I will give you the man.” Indeed, it is remarkable to witness the unfolding of these lives, so different in many ways, and in others uncannily similar. Seeing what changes and what stays the same as each period passes, as well as some of the surprising ways in which the lives of the subjects intertwine, is by turns exciting, depressing, hopeful, hilarious, heartbreaking, and sobering, sometimes all of these at once.

42 Up shows that we are, on many levels, bound by our childhood experiences, for better or worse. The film, however, does not maintain a morbid or hopeless outlook. We are not solely defined by our history. It shapes us, to be sure, but 42 Up (and all of the other Up films) loudly and triumphantly proclaims humanity as vibrant, fluid, and capable of growth.

By showing us these spectacularly diverse and extraordinarily ordinary human beings in the glorious and the mundane of their daily lives, Apted gives us 134 of the most hypnotic and meaningful minutes of film ever captured. 42 Up shows us who we are and who we can be. It is pure joy from start to finish.

Not Rated, but contains some mild thematic elements and brief profanity

ART HOUSE OFFERINGS: The Second Chance

THE SECOND CHANCE (2006)

My Rating: *** ½ (out of *****)
Starring: Jeff Obafemi Carr, Michael W. Smith, J. Don Ferguson
Director: Steve Taylor

My Review:
Christian movies get a bad rap. And in all cases that I’ve seen up to now (with the exception of 1975’s The Hiding Place starring Julie Harris), they deserve that reputation and then some. Just the idea of “films” like The Omega Code, Carman: The Champion, or Left Behind gives me a distinct feeling of nausea. So, when a movie like The Second Chance comes along, complete with Christian music icon Michael W. Smith in tow (who has never acted up to this point), it is only natural to be very, very concerned.

As it turns out, The Second Chance, directed by 90s Christian music wild child Steve Taylor, is a powerful, insightful film that actually would have been muted in its effectiveness had it been made by any other than the Christian culture insiders who put it together.

The story concerns two very different pastors: Ethan Jenkins (Smith, not too bad as it turns out), a hotshot, up-and-coming young pastor at a polished suburban mega-church founded by his father, and Jake Sanders (Carr), a moody, impassioned minister at a small, poor, urban church that also happens to have been established by Ethan’s father (a sturdy J. Don Ferguson). The story gets going when Ethan, who is being punished for taking a risk in the pulpit of his church, is sent to work with Jake in the inner city in hopes that he will “learn his lesson.” Jake, who couldn’t be less enthused about the arrangement, reluctantly agrees.

The resulting changes of heart that each of these men of God experience are, to say the least, predictable. However, director Steve Taylor conquers the overly familiar with a steady dose of refreshing authenticity. These characters and situations could have easily fallen into cliché, but thankfully, they do not. Jake and Ethan are real people with strengths, weaknesses, prejudices, flaws, talents, and most of all, human hearts. Two sequences of particular emotional power come to mind, one involving a janitor’s humility and the other a seemingly defeated Jake’s shift of focus from the “Plymouth Rock” of oppression to the Rock of Ages.

Social, political, and religious issues are all touched upon (and in some cases, danced around) in this film, and while Taylor certainly takes risks on some things, he seems to play it safe on others. For example, Taylor vividly displays the truth that, in order to live out Christ’s call to love and serve others, we have to get involved and be willing to dirty our hands a bit. On the other hand, he waffles when addressing the urgent issues of race and socioeconomic status that pervade this film. Ultimately, the director does himself and the audience a great favor by bringing it all together with the essential reminder that, for the Christian, the final source and solution for all concerns lies in the person of Jesus Christ. All else, even the good things, fall short.

For people who don’t follow Christ, The Second Chance can provide an interesting and often incisive look into some of the most pressing issues of the Christian church culture that doesn’t disrespect its subjects in the process (as so many Hollywood films do). For those who do believe, this movie offers a refreshing and encouraging challenge to “work out your salvation with reverence and awe and trembling” because it is “God who works in you to will and to act according to His good purpose.”

PG-13, for thematic elements, some language, a moment of violence, and drug references