Movie Review Library - C

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Cabin Fever (2003)
Starring: Jordan Ladd, Rider Strong
Director: Eli Roth
Plot: Deciding to spend a weekend in a remote cabin, five college friends struggle to survive after falling prey to a flesh-eating virus.
Review: Meant as a throwback to the era of low-budget, "relevant" 70's horror films and its disturbing (if hollow) social critique like The Texas Chainsaw Massacre or The Hills Have Eyes, Cabin Fever is a hit-and-miss affair. It's obvious first-time writer / director Roth (Hostel) is a fan of the "lost-in-the-backwoods" sub-category of horror and he does pretty well with an obviously limited budget, producing a straight-to-video quickie that is blatantly wants to be an homage to the many exploitation horror films that came before it. As such there are the expected elements of gore, violence, genre clichés, and nubile nudity. Yet the film doesn't quite know whether to go for straight thrills or referential humor: Any tension following the cast's struggle for survival (a key, typical theme) and their growing paranoia is often deflated by a lame plot, dumb gags and stupid, unsympathetic characters whose acts garner more groans than suspense. In the end the real failure is that the filmmakers have crafted a film that is too limited and too self-conscious to be much fun. Sure, as a late-night B-movie Cabin Fever has enough going for it to entertain undiscriminating modern teens, but to others the film will only come off as cheap, amateurish fare. For a better entry, see the inventive B&W Evil Dead, a real highlight of the low-budget genre.
Horror: 3/10

Caché (Hidden) (France - 2005)
Starring: Daniel Auteuil, Juliette Binoche, Maurice Bénichou
Director: Michael Haneke
Plot: The host of a TV literary review and his editor wife are terrorized after receiving disturbing surveillance tapes of their Paris home forcing him to look into his childhood to reveal the secret of their anonymous stalker.
Review: An effective if surprisingly coy psychological thriller, Caché is a skillfully crafted cerebral affair as only Europe could produce. Written and directed by Austrian filmmaker Haneke, it completely ignores the classic and modern tricks of the suspense trade (the film doesn't even a music score!), never going for the obvious, yet manages to get under your skin with an escalating sense of paranoia. Nor does it spoon-feed viewers: the unsettling mystery of who is sending the tapes and why is somewhat methodically revealed (pay close attention to the closing shot) yet there is no resolution, and the answers we've been patiently waiting for aren't evident. Indeed, they may even bring up more questions. And it's not only the stalker who is hidden; long-forgotten secrets are revealed, a possible marital deception is alluded to, as are some painful memories of France's treatment of Algerian immigrants. But the political and racial implications are secondary to the personal disintegration of the well-off family unit, bringing to the fore a sense of middle-class guilt. In getting this across, Auteuil and Binoche are quite effective as the couple whose relationship feels the strain of a childhood secret and lost confidence in one another. American audiences will probably find this intriguing enough but slow going, especially with its lengthy, fixed-camera shots. Forcing viewers to pay close attention to nuances and half-dropped clues may also not be some people's idea of an entertaining time. True, it could have been edited to be tighter, but much of the note-perfect unease would probably have gone with it. And for those that can appreciate cinema that takes chances, Caché provides a moral tale with a particular punch. 
Drama: 7/10

Captain America (1990)
Starring: Matt Salinger, Scott Paulin, Kim Gillingham
Director: Albert Pyun
Plot: After thwarting the plans of an evil Nazi super-soldier to destroy the White House during WW2, an American superhero is frozen in the Arctic, only to be thawed out in the modern day to face his arch-nemesis once more.
Review: This adaptation of Captain America follows in the footsteps of the Z-movie treatment given to other Marvel characters in the 80's and 90's, before X-Men and Spider-Man revitalized the super-hero movie. In fact, it was deemed so bad that the producers didn't allow it to be shown for years after the film was completed. Surprisingly enough, for the first 20 minutes you'd think you were in good hands, what with the Origin Story, Cap fighting off commando-style a regiment of Nazi soldiers, Cap's first confrontation with his arch-nemesis The Red Skull, and Cap being tied to a launching rocket: it's all damn campy stuff, but also quick-paced and entertaining despite its desperately low-budget production values. Unfortunately, it seems the movie's limited budget was dried up by this point, meaning the rest of the film is forced to find ways to stretch out its running time. So we get lots of talky scenes, zero suspense, a downright ridiculous plot, minimal production values, and villains that look like rich European dilettantes. Scary! Worse, we have the "amazing" Cap running away from them in a bicycle! Talk about embarrassing. It's all similarly lame for another hour or so, as our hero and his new female sidekick end up in Italy to search for the Skull's "real name". And Cap's costume is nowhere to be seen until the last few minutes. Only then do we get any more quasi-super-hero action, as Cap does some flips, throws his shield at baddies and fights off the Skull. The climax, however, will have you howling. Director Pyun (known for the entertaining Nemesis, but mostly for his cheap direct-to-video work) has little sense of pacing and engaging direction but he does what he can with a very limited budget. The same can't be said of the script which, apart from the aforementioned beginning, fails to bring any of the rich comic-book material to the screen and even less regards for the character. It's not so much that it gets away from the comics (the Skull isn't a Nazi but an Italian crime lord, among the worst affronts) it's just that it's plain bad. Just in case it was worth mentioning, the acting is generally terrible from some familiar faces, and none more so than the hammy Paulin as the villain. Captain America delivers as unintentionally cheesy and laugh-out-loud silly fare, and only die-hard fans of the genre should venture to watch.
Entertainment: 3/10

Carrie (1976)
Starring: Sissy Spacek, Piper Laurie, William Katt
Director: Brian De Palma
Plot: A teenager, raised by a God-fearing mother and ridiculed by her classmates, develops psycho-kinetic powers when she is emotionally distressed and uses them to exact revenge during prom night.
Review: Carrie, based on Stephen King's first novel, mingles teen angst, high school hell melodrama and supernatural revenge fantasies with the emergent female sexuality. This is pure exploitative schlock from director De Palma (Scarface, The Untouchables), something obvious from the get-go with the opening girl's locker room scene. . De Palma based many of his filmmaking techniques as an homage to Hitchcock but doesn't have the master's touch. There's some good stuff here, and, at his best, De Palma does manage a creepy, tension-filled atmosphere, makes her school life seem adequately terrible, and the confrontations between mother and daughter approach the nerve-racking - it's just unfortunate that these moments doesn't hold throughout. The climactic release of her powers at prom night is meant to be impressive, but is shot in such a haphazard way as to lose much of its emotional power. Worse, the comeuppance of its main villains is given barely an instant to be appreciated. Spacek, in her first screen appearance, is perfectly suited for the role of the pariah, evoking both naive innocence and, ultimately, the angry madness that consumes her. The rest of the cast doesn't fare as well, with Piper Laurie in a ridiculously over-the-top role as her Bible-thumping mother, and some other recognizable faces (including a young John Travolta) doing some perfectly wooden portrayals. Seen by many as a classic of the horror genre for its gory excesses and themes, the film may simply not have aged well. Some parts of Carrie still manage to be disturbing and even suspenseful, but it ultimately ends up as only a half-successful horror outing.
Entertainment: 6/10

Cars (2006)
Starring: Owen Wilson, Paul Newman, Bonnie Hunt
Director: John Lasseter
Plot: A cocky, hot-shot rookie stock car on its way to a big race gets waylaid in a small town on Route 66 where, forced to do community service, he learns the true meaning of friendship.
Review: A new Pixar movie is always an event and Cars is no exception. For one, it raises the bar on computer animation and it looks spectacular: gleaming, flashy, detailed and imaginative, and damned colorful to boot. Just check out the exciting opening and closing races! An homage of sorts to America's fascination with all things automobile, with the legendary Route 66, and with NASCAR of course, the film works thanks to its polished storytelling, fine characterizations, solid direction by Lassiter (Toy Story 2), and its sense of good fun. Sure, the story is familiar - big town hot shot gets dropped down in the middle of nowhere and learns the essence of life - and we get the "no one is an island", yes, but when well told it never grows old, and that's where the film stumbles a bit. Pixar usually has a way with stories that elevate them past the usual feel-good rubbish (see Finding Nemo) but here - a tale of the slow inward destruction of small towns by "progress" - it just doesn't gel into place, despite some good efforts and a longer-than-usual running time. Thankfully, there's a lot to appreciate: Fans of the sport will appreciate many of the in-jokes, and the kids - once they get past the slow-going, exposition-heavy first 40 minutes - will love the good-natured tom-foolery that these cars get into. The humor, too, though often more clever than funny (the night of tractor-tipping, the Rust-eze commercials, the endless blink-and-you'll-miss-it puns) lifts the film up and scenes with the goofy tow truck Mater (voiced by Larry the Cable Guy) do steal the show. The vocal performances are also bang on: Wilson is incredibly at ease doing comedy, Hunt breezes through her role, and there's a terrific performance by Newman as an ex-trophy winner who's disappeared into obscurity as the town judge. And don't forget to stay for the amusing end credits, too. If it's not quite as memorable as one would have hoped, the enjoyable Cars still has that Pixar charm, easily rising above the average CGI fare.
Entertainment: 7/10

*Classic* Casablanca (1942)
Starring: Humphrey Bogart, Ingrid Bergman, Claude Rains
Director: Michael Curtiz
Plot: An embittered American saloon owner in World War II Morocco is torn between rekindling with the woman he loves or saving both her and her influential husband from the Germans by providing them with stolen visas.
Review: One of the most beloved films of all time, and still a classic romance, Casablanca has quickly become a pop icon of North American culture. Combining adventure, suspense, stirring melodrama, an absolutely terrific cast including dozens of interesting, colorful supporting characters, and some of the most memorable dialogue ever put to screen, the film is a joy to watch over and over again. Even the filmmaking techniques, the use of shadow and light, the editing, the mise-en-scene, all enhance the experience. Sure it's pure Hollywood entertainment, but it's done right and the story, clever details, and endearing performances takes us into a delicious movie experience. From "Here's looking at you, kid" to the piano playing of "As Time Goes By", Casablanca has proven its staying power and its universal appeal as one of the old-time greats of cinema.
Entertainment: 10/10

Casanova (2005)
Starring: Heath Ledger, Sienna Miller, Jeremy Irons
Director: Lasse Hallstrom
Plot: In fear of being exiled from 18th-century Italy, the legendary womanizer Casanova is forced to choose a virginal mate to marry, but things get complicated when he falls for a fiancéed head-strong feminist instead.
Review: An entertaining period farce, Casanova plays like a romantic comedy that is more carefully constructed than it would normally deserve. The story revolves around a complicated setup featuring the classic themes of mistaken identity and all the slapstick that goes with it, and the film does milk all the usual jokes and situations. The sentimental trappings are minimal, with lots of sexual and erotic innuendo on hand if nothing quite exciting actually on-screen. Director Hallstrom is getting associated to cute, clever concoctions like Chocolat that are fanciful and enjoyable to watch but instantly forgettable. Oh, the decor and art direction are particularly lavish and beautiful, with particular attention given to the costumes, pageantry and lighting - nice stuff for a "simple" period comedy. There are also some nice fantasy-like touches, like a trip in a hot-air balloon and a lavish masquerade ball, and some exciting sequences like an escape on the rooftops of Venice and a sword-filled climax, but the whole isn't up to its individual parts. One thing is for sure, it's an about-face follow-up for star Ledger after his daring gay cowboy take in Brokeback Mountain, and he comfortably embodies the legendary character, giving a charming, sympathetic performance if never quite "owning" the role. The pretty Miller makes for a fine foil, and the rest of the cast - including Irons as the frumpy, conservative cardinal, a pompous Oliver Platt as the lard king, and more - does pretty well hamming up the humorous elements, clearly participating in the fun. Casanova ends up being a light-hearted confection to pass the time, but there's little to really distinguish it from the pack.
Entertainment / Comedy: 6/10

Casino Royale (2006)
Starring: Daniel Craig, Mads Mikkelsen, Eva Green
Director: Martin Campbell
Plot: On his first assignment for MI6 as a "00", agent James Bond must face off against a terrorist financier at a high-stakes poker game in Montenegro.
Review: Casino Royale, the third and most "official" adaptation of the Ian Fleming novel that started it all, resets the popular 45-year James Bond franchise back to square one - quite literally - bringing to the screen the secret agent's first 00 mission. From the get-go, a brutal assassination in B&W, the film is claiming a change from the last fantasy outing, Die Another Day - this is a more intimate, exciting affair, and it's magnificent. The opening action sequence - a chase through a construction site - is mesmerizing, a death-defying set piece filled with impressive stunts that, for a dizzying 20 min, is simply exhilarating and is on its own worth the price of admission. And the action climax, as a building collapses in the Venetian waters, is pure 007. But between those two, there's little stunt work to be found. Indeed, gone are the gadgets, over-the-top action sequences, and self-conscious humor that have been the staples of the series. Instead, what we get is a delicious and surprisingly straight-forward spy thriller that culminates at a high-stakes poker table, of all things. Never fear, the usual Bond tropes are present: the tuxes, the impressive fighting, the expected clever dialogue and one-liners, the eccentric villains (in this case the scarred, villainous Le Chiffre, finance-man to the world's terrorists), the beautiful women (the slinky Eva Green), and the exotic locales from the Bahamas to Montenegro. Yet it's really a film of truly brutal, instant violence and conflicted characters, something that makes the familiar icon fresh and interesting again. Director Campbell (The Mask of Zorro), who also introduced Brosnan as the new bond in the 90's in GoldenEye, is in peak form here - the movie is dynamic, constantly moving, splendidly energized and, if it sometimes feels a bit calculated, it runs like clockwork with nary a dull moment. And the visual look of the film is impeccably cool and stylish. A lot of media attention has been put on the blonde (and buff) Craig who at first appears an odd choice but, vicious and cold when required, he's completely believable as both a killing machine and a super-spy, capturing the essence of Fleming's ideal. And yet on the flip side he's much more vulnerable than the classic Bond, and not infallible in his first major mission. He's still the suave ladies' man, but there's an edge to everything he does, and he actually beds only one Bond girl here. If the romantic entanglement reminds one too much of On Her Majesty's Secret Service, perhaps, it's an important segue way to the future of the character. Of special note is the clever, imaginative animated credit sequence, which surprisingly, has not a single nubile women to be seen. With Casino Royale, James Bond is truly ushered into the 21st century, and what a promising new step it is.
Entertainment: 8/10

Cast Away (2000)
Starring: Tom Hanks, Helen Hunt
Director: Robert Zemeckis
Plot: A FedEx inspector finds himself stranded on a remote Pacific island where he must stave off hunger and loneliness after the plane he was on crashes and sinks in a terrifying storm.
Review: Kudos must go to both director Zemeckis (Contact, Forrest Gump) and actor Hanks for even contemplating doing the sort of film like Cast Away: watching a lone actor for an hour and a half with barely any dialogue should have been deemed ridiculous. And yet it works, thanks in large part to Tom Hanks' screen presence and a good script, making the hardships of being cast away from civilization fascinating and (mostly) realistic by eschewing on simple MacGyver-like solutions or easy emotional melodrama. Our obsession with time is put to the fore by contrasting between the Hanks' demanding and incredibly hectic schedule in our modern society and the one in his new locale, in an environment that never changes and where the passing of time has become irrelevant. The psychological impact of the event is also evident - the relationship between Hanks' character and a volleyball which he dubs "Wilson" ends in one of the most touching, and even heart-wrenching, moments of the film, and it's a nod to the film-makers' talents that it, and so many other scenes like it, work so well. The film ends on an interesting, open-ended note, one that is perfectly suited to the ordeals, and forced enlightenment, that our hero has faced. Cast Away ends up being an absorbing, at times terrifying look at loss and human survival, one that has the courage to see events in a mature and uncomplicated manner.
Drama: 8/10

Catch Me If You Can (2002)
Starring: Leonardo DiCaprio, Tom Hanks, Christopher Walken
Director: Steven Spielberg
Plot: A gruff FBi agent becomes obsessed with capturing a teen who ran away from a broken home and managed to pass himself off as a pilot, a doctor and a lawyer while cashing in forged checks to the tune of millions of dollars.
Review: Based on the real-life exploits of Frank Abagnale Jr., Catch Me If You Can is a merry thriller and at the hands Spielberg (Jaws, Saving Private Ryan), one of Hollywood's most popular directors, it becomes an exhilarating game of cat-and-mouse. Returning to much lighter fare than his recent outtings, the film doesn't take itself too seriously, with some unforced comedy and loads of humorous appeal to help things move along with fine efficiency. There are still a lot of Spielberg's trademark melodramatic and heart-tugging moments, but also evident are his finely balanced touches of drama and humor, all encompassed in a bubbly, engrossing crime caper. His favorite theme show up here as well: children going through hard times (once again, the separation of parents) and experiencing life, and ultimately growing up, through some extraordinary means (see E.T.). The film is both mature in its depictions and execution, and yet tickles our fancy so much that we can't help smile as we cheer the young protagonist along and marvel at his chutzpah and daring. Our hero discovers that the clothes really do make the man, and though he's just a kid in a costume, the rest of the world never hesitates to take him at face value. The premise may be absurd if it wasn't all true, and harking back to the naive days of the 60's when flying was still a glamorous affair and pilots were heroes, the film makes it easy to see why our unlikely hero could get away with impersonating so many professionals. A large part of the appeal is in fact the recreation of the innocent 60's, from the slick, stick-figure opening credits, the jazzy music by John Williams, the costumes and sets, to the very attitude of the cast, the sense of the times is deeply rooted into every aspect, every detail. DiCaprio is perfect for the role of a teen who looks older than his years; his boyish looks, his easy-going charm works wonders to convince us of the innocence, the ingenuity and, as his options ultimately run out, the loneliness of his character. Hanks plays the gruff FBI agent role to perfection, reaching a finely nuanced pitch in both a comic and sad portrayal. Walken does one of his better roles in years as the embittered, broken father. This being a Spielberg film, the ending is typically upbeat and optimistic, but for such an entertaining affair it would be remiss to find that a fault. At the hands of a master storyteller and with such fine leads, Catch Me If You Can is simply enthralling fun from start to finish.
Entertainment: 8/10

Cat People (1942)
Starring: Simone Simon, Kent Smith
Director: Jacques Tourneur
Plot: A young Serbian woman fears for her husband believing that she suffers from an ancient curse that could turn her into a murderous panther.
Review: A B&W horror classic on the genre-favorite topic of sexual repression, Val Lewton's Cat People works as a horror film thanks to some eerie atmosphere, decent suspense and a good script that is far superior to the 1982 exploitive remake. Though filmed with a typical B-movie budget and cast, the film makes good use of few sets, creating the mood with a fascinating play with light and shadow, some interesting edits, and introducing some techniques that have since become staples of mainstream horror/suspense films. Indeed, most of the horror scenes are filmed in a way as to leave the audience to imagine the worst, and keep us unsure if there are supernatural forces at work until the very end. Deemed one of the best horror films of the 1940's, Cat People may seem a little dated at first, but still manages to provide a few good thrills.
Entertainment: 7/10

Cats & Dogs (2001)
Starring: Tobey Maguire, Jeff Goldblum, Elizabeth Perkins
Director: Larry Guterman
Plot: A young Beagle is mistaken for a canine secret agent and is thrust into the age-old conflict between cats and dogs when an evil feline tries to steal the formula against dog allergies and kidnap his adoptive human family.
Review: Starting off with a great premise, Cats & Dogs is a family comedy, a James Bond-ish action / adventure that mixes live action pets with CGI and animatronics to great effect. The lighthearted silliness of the proceedings and the seemingly effortless execution bellies the impressive work involved - cats and dogs speak, perform martial arts, use elaborate high-tech gadgets, and even drive cars! There's a confrontation with parachuting Ninja cats, an evil conspiracy by a Blofeld-like white furball, a rag-tag team of dog agents, and even a sentimental sub-plot with the pup's new young owner. Director Guterman uses every trick in the book to make his canines and felines believable and "human", to keep things lively and entertaining, and to spoof as many spy / action conventions as possible. And he succeeds - the film is a dizzying diversion just by sheer quantity of material, witty dialogue, low-brow jokes, amusing twists and an efficient pacing. The film's wacky silliness may not be all for all tastes, but those willing to accept it will have a great time. The plot does lag a bit towards the end, as if the script was exhausted by all the imaginative energy it has had to put out in the first two-thirds, but then delivers a final over-the-top spurt for its climax. The human actors are decent enough, but the real heroes are the pets, the brilliant special effects that bring them to life, and the excellent voice acting talents by a bevy of Hollywood stars including Susan Sarandon and Alec Baldwin. Inventive and constantly enjoyable, Cats & Dogs is a hoot for kids and adults alike from start to finish.
Entertainment: 8/10

Catwoman (2004)
Starring: Halle Berry, Sharon Stone, Benjamin Bratt
Director: Pitof
Plot: After being killed for knowing too much, a shy advertising artist working for a cosmetic mega-corporation is brought back to life by an Egyptian Cat-God and uses her new-found powers to take on her old boss.
Review: Forget all the Batman movies, and forget Michelle Pfieffer's elegant turn as the title character in 1991's Batman Returns. Catwoman, as re-invented for the new decade, is a pastiche of everything that gave super-hero movies a bad reputation in the first place. This is just bland from start to finish - the sporadic action is edited too jarringly, the pacing is all over the place, and the plot simply uninteresting. The yawn-inducing setup and ludicrous origin story that dabbles in Egyptian mythology (and has nothing to do with the long-standing comic series) only gets worse as our heroine uses her powers to make up for past abuses by neighbors and ex-boss. It doesn't help that the romance between the two leads (something that takes too much on-screen time) is clichéd and without chemistry. There's a hint of the duality of her character, of psychological dilemma, but these quickly go by the way-side. The film never gets redeemed, as we get dragged through silly, uninspired set pieces and a rather lame climactic catfight. It's obvious this kitty has little to do with Bob Kane's creation, and there's no Batman to save it. French director Pitof squanders all the promise he showed in his previous outing Vidocq - thought that film had style, originality and smarts that seemed destined to fit the super-heroic mold, this one lacks any of those qualities. Though she won a Razzie award for her work here, Berry does as best she can as the schizo hero, playing both the timid girl and the criminal free spirit - it's unfortunate she doesn't get a chance to emote with better material. One thing's for sure, she looks great in the tight fitting S&M leather cat-suit, cracking a whip and slinking through tight spots - too bad the terrible CGI acrobatics can't do it justice. As for Stone, she chose the wrong role to get back in the limelight - though she still looks good, her role of villain is downright embarrassing. Though not the unmitigated disaster some have claimed, Catwoman is a great disappointment and really only entertaining for those desperate to see Berry slumming it after her Oscar win. Just don't expect a sequel - this Cat has run out of lives.
Entertainment: 3/10

The Caveman's Valentine (2001)
Starring: Samuel L. Jackson, Aunjanue Ellis, Colm Feore
Director: Kasi Lemmons
Plot: A former piano composer, now mentally unstable and living in a city park cave as a vagrant, enlists his estranged daughter's help to solve the murder of a homeless teen.
Review: Based on a novel and script by Geroge Dawes Green, The Caveman's Valentine is a story with an interesting premise, but it devolves into a rather unbelievable and clichéd exercise. The protagonist is an interesting one, and there are some inspired elements brought from the mixing of the detective thriller with social commentary. It could have made for a captivating project, but by using easy genres conventions (red herrings, stock caricatures, etc), the film just isn't up to it. The main problem is that the motivations are unclear; it feels like a greater work has been truncated of all its psychological impact. The intrigue is forced and the personal relationships, though rife for development, aren't very engaging. Oh, there are some engaging aspects to the film, and some of the subplots (such as one where the genius hobo is taken in by a rich amateur of the arts into his lavish apartment for a quick makeover) make for interesting viewing. It's too bad that director Lemmons fails to bring the intimacy and careful drama that was in her first effort Eve's Bayou though the film does have a slick, visually interesting feel to it. Everything, though, revolves around the Jackson's decent performance who tries to imbue the dread-locked, schizophrenic piano composer with a soul; but when he sets off as a regular Sherlock Holmes to solve the case, it turns to being almost laughable. The rest of the cast is adequate for the material, though only Feore really shines as the elitist art photographer. The ending is far too tidy compared to the events and inter-personal tensions that came before, but even underdeveloped as it is The Caveman's Valentine is not a bad little mystery, it's just a disappointing, rather formulaic one.
Entertainment: 4/10

The Cell (2000)
Starring: Jennifer Lopez, Vince Vaughn, Vincent D'Onofrio
Director: Tarsem Singh
Plot: Aided by a virtual reality-type machine, a child psychologist must enter the mind of a comatose schizophrenic killer to discover the whereabouts of his latest victim before its too late.
Review: The Cell starts off as typical FBI thriller, but goes into high gear mid-way through as it delves into the fantastic with the melding of minds between killer and therapist. At its heart the film is a sci-fi based psychological fantasy with some striking, artfully rendered, dream-like sequences, beautiful costumes, and bizarre events. Unfortunately, there's nothing memorable story-wise - all these magnificent, opulent visual treats are tied together by a second-rate serial-killer script and so much pop-psychology. The Cell tries to be another The Silence of the Lambs, but never manages to be as remotely compelling. The cruelty depicted seems to be pumped up as well, but thankfully most of it is off-screen. Jennifer Lopez is surprisingly well cast here, not for the "real world" sequences but for the part as the subconscious traveler. Not nearly as good is the rest of the cast, including D'Onofrio, who just seem to go through the motions of trying to flesh out their drab, one-dimensional characters. In the end The Cell is a visually arresting film with a good premise that could have done with a more compelling script.
Entertainment: 7/10

Cellular (2004)
Starring: Kim Basinger, Chris Evans, Jason Statham
Director: David R. Ellis
Plot: A young slacker races against time to save a mother and her son who have been kidnapped by unknown assailants after she manages to connect to his dying cellular by chance.
Review: Another high-concept suspense thriller from the mind of B-movie-meister Larry Cohen (who gave us a similar phone-related premise in Phone Booth), Cellular doesn't waste much time before plunging into the action. The story of bad cops and naive guy running against the clock isn't anything new, and the script doesn't try to add anything more than the most basic of trappings for the genre, but it's done with enough panache and energy to keep things moving along despite some obvious logic failings and laughable coincidences. Director Ellis (Final Destination 2) serves up some decent stunts and the occasional nail-gripping moments as he follows the breakneck chase and constant cell phone-based reversals. Many of the events and needed twists do get rather silly, but the film always manage to maintain a good degree of suspense and enough humor to make for a quick - if preposterous - 90 minute affair. We never get a good feeling for these stock characters, but star player Evans actually comes off rather well as the slacker turned reluctant hero, and he is helped well the his big name co-stars. Basinger's convincing (if over-the-top) damsel-in-distress performance, Statham's menacing bad guy, and William H. Macy's sympathetic, diligent cop - none of them stretch their acting chops, but they do elevate the material. It's not great entertainment, but with sufficient thrills and steady pace, Cellular is an efficient little number.
Entertainment: 5/10

Changing Lanes (2002)
Starring: Ben Affleck, Samuel L. Jackson, Toni Collette
Director: Roger Michell
Plot: A New York City fender-bender leaves a recovering alcoholic family man going through child settlement and a young, affluent partner in a law firm in an escalating confrontation when neither one wants to give in.
Review: Changing Lanes is a small-scale drama focusing on these two very different men - one a down-and-out family man, the other a hot-shot lawyer - and how their pent up rage makes monsters out of them. And it's surprisingly effective. These two are flawed, but inherently good characters - their particular social situation on that miserable day is what's really driving them mad. Civility is only skin deep, the story seems to say, and it doesn't take much for us to go over the edge. All the events occur over the span of eight hours, with both protagonists trying desperately to beat the clock, or make up for lost time. Every time one of them is ready to follow their conscience and do a good deed, the other smacks him back down again increasing the stakes for both of them. Of course, the guilty pleasure is to see how far down these two otherwise respected individuals can go; blackmail, threats, destruction of property, under-handed shenanigans, everything goes in this escalating confrontation. There are sub-plots as well involving wives, legal courts, alcohol abuse, an ethics dilemma etc on both sides, forcing the two men to eventually see themselves and finally take account of their lives and what they have become. As such, there are other layers to the story, including briefs on spirituality and God, business ethics, and what we're willing to sacrifice to get ahead. The films wants to be a compelling moral tale, with a script that succeeds in riling up its audience. Sure, it sometimes gets moralistic and heavy-handed in its sudden monologues and outraged outbursts but what keeps it going are the observations on these two adversaries and the character development that sneaks through. Director Michell (Noting Hill) and his cinematographer make good use of the drab, gray city to show the impersonal, dog-eat-dog world of New York City, bleaching out all the colors and shooting alternately with grainy hand-held video cameras and jittery movements. This is definitely a slickly made production that moves along briskly. Jackson is brilliant as the underdog in a compelling, intense performance. The always affable Affleck plays to type once again as a cocky but conscience-stricken suit, but he's got it down to an art. As the father-in-law, Pollack plays a terrific, sleazy lawyer in an important supporting role, and William Hurt does a fine cameo appearance as Jackson's AA buddy. Half suspense thriller, half social drama, Changing Lanes is a compelling experience.
Drama: 7/10

Chaos and Desire (La Turbulence des Fluides) (Quebec - 2002) 
Starring: Pascale Bussières, Jean-Nicolas Verreault, Julie Gayet
Director: Manon Briand
Plot: A bitter seismologist living in Japan returns to her native French-Canadian village to uncover the reason why the tides have strangely stopped flowing all over the Quebec coast.
Review: Chaos and Desire starts off with a terrific science-fiction premise that unfortunately pecks too much into the X-Files type of story-telling. We meet some strange characters and unexplained events and, stranger still, nobody seems to be too impressed by the cataclysmic signs. The intense heroine, amid this community, is looking for a rational, scientific explanation, but there isn't one; this answer is purely emotional, one that has to be felt and believed, much like human relationships and our faith in a greater power. The parallels between the fluids of Nature and the ones that affect us, our desires, isn't exactly a subtle one, as evidenced here, as supernatural forces seem to control people's destinies and passions. This is first and foremost a story on the fantastic, one with a decidedly supernatural twist, but one that ends up feeling a tad hollow and artificial. Still, the story stands well as a New Age-type spiritual adventure, and there are enough poignant, droll, and heart-felt moments to keep audience interest. Director Briand made an impression with her first feature 2 Seconds, and this one is a step forward in her repertoire and a change of pace. This is a technically solid effort which includes some beautiful imagery of the Baie-Comeau landscape. The pacing is deliberate, even languid, but very smooth and eventually entrances. The human relationships are intriguing at first but kept decidedly superficial, which is really too bad as the characters aren't allowed to fully form; what we get are interesting, sometimes eccentric caricatures but the real motives are either simplistic or ambiguous. This is especially true of Alice, the protagonist, who is presented with a lot of inconsolable emotional baggage that isn't quite explained or revealed. The mystery aspects of the story are its best moments, though some might appreciate more the romantic sub-plot (which becomes the real focus of the film - large events shape the relationship of two lost souls, and vice-versa) thanks to some fine, low-key performances by both Bussières (pouting her way through events) and Verreault (mixing both machismo and sadness). Of the supporting cast, two are of note: an aging Genevieve Bujold gives a classy performance as the nun-turned-waitress, and young waif Ji-Yan Séguin, an adopted Chinese girl, is quite endearing. Skeptics and un-romantics may balk at some of the obvious coincidences and New-Agey conclusion, but Chaos and Desire is a fine little film for those willing to take a chance.
Drama: 5/10

Chariots of Fire (1981)
Starring: Ben Cross, Ian Charleson, Ian Holm
Director: Hugh Hudson
Plot: Two English runners from very different backgrounds train and compete in the 1924 Olympics for personal goals against the much-favored Americans.
Review: Chariots of Fire manages to transport us back in time to the 1920's in this sumptuous historical drama with a story that harkens back to a time when spirit, camaraderie, and good sportsmanship were the only measures of a true athlete. The film is not a "sports film" per se, as it does not focus on the competition or the race so much as on the individuals and their personal commitments, on the motivations, and sacrifices of these men. In fact, the final race is a relatively low-key affair, the drama focusing instead on the motivations of its characters, all well presented thanks to some excellent performances by its main actors. Some fine direction, good cinematography, catchy musical score, and a solid script that avoids standard melodrama all make for an intelligent, uplifting film. Best of all, Chariots of Fire is a fine drama that never loses sight of the humanistic element it set outs to display. Best Picture Oscar winner for 1981.
Drama: 8/10
 

Charlie and the Chocolate Factory (2005)
Starring: Johnny Depp, Freddie Highmore, David Kelly
Director: Tim Burton
Plot: Five children and their charge win a coveted tour of the world's most wonderful candy factory with the eccentric owner as their guide after finding golden tickets in a huge chocolate bar lottery.
Review: A big-budget remake of the 1971 Willy Wonka and the Chocolate Factory, itself adapted from Roald Dahl's classic children's tale, the whimsical Charlie and the Chocolate Factory is in every way superior to its predecessor. The story itself remains very much the same, with the "rotten" children being eliminated one by one in inventive ways and the social commentary on the raising of the young intact. However, there are two particularly welcome additions: the flashbacks to Wonka's childhood, and a much more rewarding ending. If some of the original film's choice scenes will seem familiar, it is on the whole a new feature entirely with effects and art direction that are simply fabulous, every new scene a scrumptious visual delight, every moment a different flight of fancy. Of course, in the reigns of Gothic-attuned director Tim Burton (Batman, Beetlejuice), one would expect the story to take on added brilliance and heart-tugging pathos, and Burton keeps the darker aspects of the cautionary morale while adding his own blend of wild exuberance. Jabbing fun at pop-culture icons from 2001 to The Beatles, it manages to stay afloat throughout its an imaginative, candy-colored, and altogether surreal excursion, making for a fairy-tale adventure that's as fun for children as it is for adults. Of special note are the Oompa-Lumpa's who, all played to zany perfection by small-statured Indian actor Deep Roy, take every occasion to break into hilarious song-and-dance. But even the outlandish inventions on display wouldn't be half as much fun without the help of the two leads: Depp makes a great Willy Wonka - eccentric, childish, with just a touch of cruelty and innocence - making us forget all about Billy Wilder's own interpretation. It's the young Highmore, though, who's the real heart of the film playing the poor young waif with a heart of gold. With its smart humor, engaging direction and great decor, this new Charlie is sure to take over Willy as the one-and-only adaptation of Dahl's work.
Entertainment: 9/10

Charlie's Angels (2000)
Starring: Drew Barrymore, Cameron Diaz, Lucy Liu
Director: McG
Plot: Three crack female undercover operatives funded by a reclusive millionaire are hired to protect the founder of a high-tech software company and infiltrate the site of his competitor. 
Review: Based on the 70's TV series of the same name, Charlie's Angels takes all the kitsch that made its precursor so popular and runs with it. Full of silly dialogue, with a "female empowerment" theme running straight through, an appropriate rocking soundtrack and with more cleavage and bun shots than a six-pack of exploitation films combined, the film knows it's pure cheese and pushes that knowledge to the limit. Yes, the shallow, ridiculous plot is but an excuse to connect all the action set pieces and the silly romantic snapshots together. As for the comedy, it ranges from the clever but silly to the slapstick. All this is so slickly packaged, so fast paced, and so clever in giving exactly what the audience wants and expect, that one can't help but be taken in by the infectious fun displayed on screen. The action sequences in particular, taking their cues from Hong Kong films and the slow-mo techniques of The Matrix, are quite exciting and impressive. These three angels literally kick ass, and as pure entertainment goes, so does the film.
Entertainment: 8/10

Charlie's Angels 2: Full Throttle (2003)
Starring: Drew Barrymore, Cameron Diaz, Lucy Liu
Director: McG
Plot: Three special investigators chase after one of their own, an Angel gone rogue, who holds two rings that would help decrypt the complete list of the US's Witness Protection Plan.
Review: Basing itself more on its predecessor Charlie's Angels than on the actual '70s series, Full Throttle is full of flamboyant kitsch, outrageous situations, immature sexual innuendo, and a plot so predictable and paper-thin that it's instantly forgettable. But who cares? The action has been revved up, and every one of them is an ode to excessive comic-book fantasy, with impossible stunts that defy the laws of gravity, Matrix-like camera shots, and digitized effects. With an extended sequence of motocross acrobatics, some martial-arts ballet, and an insane opening sequence that out-Bonds 007, you know you're in good hands. Sure, its only smarts may be in the way it manages to jiggle and exploit its way into the mainstream, but what makes it all work is the fact that all of it is done with a definite wink to the audience, and tongue firmly planted in cheek. Director McG's music-video beginnings, slick directing style and flashy editing are still very much a part of the film, and once again uses it to good effect here. The three "girls" definitely appear to enjoy camping it up to extremes (posing as nuns, strippers, and everything in between), and play it all to the hilt. Striking poses, kicking butt in full CGI glory, and chewing the scenery, they're up for anything. Even the supporting cast, with cameos from a half-dozen top actors including John Cleese and Bruce Willis, adds to the fun. As for Demi Moore, making a re-appearance as an Angel gone bad, she can't really compete with all the exploits around her - oh, she still looks fine in a bikini, but she seems to be taking all this stuff much too seriously. Some moments, however, do seem to stop the zaniness dead in its tracks, and none more so than the bland, tired scenes with Bernie Mac. Puh-lease get us Bill Murray back! The film, though still as air-headed as its predecessor, also has lost some of its originality and surprise. Still, for audiences plagued with attention-deficit disorder, Full Throttle is definitely the summer blockbuster to beat.
Entertainment: 7/10

Chasing Sleep (2001)
Starring: Jeff Daniels, Emily Bergl
Director: Michael Walker
Plot: A college professor fighting insomnia wakes up one day to find that his wife has disappeared under peculiar circumstances, but his search for answers make him question his own sanity.
Review: Chasing Sleep can be best described as a surreal updating of Edgar Allan Poe's famous short story "The Tell-Tale Heart". Director Walker opts for the bizarre here, and he's got the right touch for it presenting a narrative that is always more than a tad odd and provokes a feeling of uneasiness, of paranoia and entrapment. The camera also never leaves the house, making for a claustrophobic experience - the walls close in, the rooms feel like their spinning, and without a musical score, every sound becomes a frightful one. The effects are mostly low-key or, when the need or shock is required, blatantly low-tech, but all are effective to set the required mood. Though we might, at first, guess as to what has happened to his wife, the movie never allows us to be convinced one way or another; is it all a hallucination? what really happened to his wife? As for our anti-hero, the stress brought on by his missing spouse, his insomnia, and the people going in and out of his house, only increase his level of stress leading to paranoia, obsessive behavior, and wild hallucinations. Worse for him, the house is seems to be deteriorating around him, paralleling the collapse of his own sanity / psyche. This is a well realized, visually interesting feature, and often quite inventive in its handling of the story, but eventually too uneven in its pacing to really grab our attention. The tension builds, but then disappears, only to start up again, events sometimes tapering out. There's a peculiar sense of humor, too (particularly in the constant drug use), but it sometimes breaks the tone. Some scenes are particularly off-putting with the camera and narrative distancing, while some not-so-subtle symbolism abounds in every scene. The nonchalant, even-tempered Daniels is a good choice as the sleeping-pill addicted insomniac driving himself mad. Going against his popular comedy stereotype, he makes a good protagonist here, confused, depressive, and irrational, a man who has reached the point of despair and can no longer discern the difference between fevered dream and reality. Some other amusingly eccentric characters, well-played, populate the tale: the violent gym teacher, the perky student, the gruff inspector, the drug-pushing psychiatrist, all with their own little quirks. This is often a disturbing, creepy endeavor, but one that could have been more involving, especially in the dragged-out middle section. In the end, Chasing Sleep is an interesting exercise in Lynch-syle creepiness that won't advance the genre, but one that's clever enough to keep fans interested.
Entertainment / Horror: 5/10

Chicago (2002)
Starring: Renee Zellweger, Catherine Zeta-Jones, Richard Gere
Director: Rob Marshall
Plot: Convicted and imprisoned for murder, a down-on-her-luck aspiring singer and a popular stage dancer compete for media attention as well as for the services of a hotshot defense attorney in 1920's Chicago.
Review: The movie version of Chicago gives the classic musical the big-budget movie treatment, and for the most part comes out a winner. Actually, this is a pretty faithful adaptation of the Broadway hit, in terms of plotting and the dance routines. Unfortunately, the musical numbers (explained away as Roxie fantasies) are often limited to solely recreating the stage version. These are engaging and well done, shot with abundant energy and flair, but one would have expected more from the jump into a more dyanmic medium. Still, choreographer-turned-director Marshall shows he has a good eye for capturing the dance elements on film, and these instances (which make up most of the film) are great fun to watch, though none quite match the vitality of the opening number "All That Jazz". As well, the production values are solid, the cinematography perfectly suited, and the story engaging enough to keep us occupied between dance sequences. As for the script itself - about the fickle nature of fame and the venal nature of the media - it isn't anything new, but it does allow for some cynical commentary. The casting choices are a mixed bag: Zellwegger does, for the most part, a decent (if unspectacular) job both in the acting and singing routines (though she never becomes sympathetic), and Gere (though not his best in the musical bits) is a good choice for the hack lawyer. The real treat of the film, however, is undoubtedly the remarkable, red-hot Zeta-Jones who sings and dances like a real cabaret girl, and who looks every bit the part; she's dazzling and charismatic, and the film wouldn't have been half as good without her. Queen Latifah, in an important supporting role, does a terrific singing number, and John C. Reilly, a top-notch actor always playing bit parts, also impresses. Though nowhere near as dazzling as Moulin Rouge, Chicago is still a class act that retains its own character, and if nothing else is a terrific showcase for its real star Catherine Zeta-Jones.
Musical: 7/10

Chicken Little (2005)
Starring: Zach Braff, Garry Marshall, Joan Cusack
Director: Mark Dindal
Plot: After an embarrassing cry-wolf incident turns the town against him, a young chicken tries to redeem his reputation any way he can only to realize he must save them all from a real alien invasion.
Review: The first computer animated feature from Disney following its break with Pixar, Chicken Little plays with the classic tale of The Boy Who Cried Wolf and proves to be more entertaining than one would have guessed. The visuals are clean and colorful with some well-realized anthropomorphic characters, lots of flash and action sequences that ensure the attention of even the most jaded viewer, and tons of comic wit and chutzpah. The sentimental father-son relationship makes for the chunkiest portions of the film but thankfully throwing in some X-Files into a mix of underdog sports clichés and a script fraught with high school peer pressures and childhood fears makes for some amusing, if convoluted, situations. Throwing in pop references, clever visual gags, and completing it all with a War of the Worlds-type invasion that is as chaotic as it is amusing ensures both parents and kids will go along for the ride. As voiced by Braff, Little is a worthy underdog whose friends include Ugly Duckling (a fine Joan Cusack) and Runt of the Litter (Steve Zahn in full form) but it's the silent, quirky Fish Out of Water that really steals the show, getting the most laughs from adults with some truly zany moments. If it's not quite a huge step above the average, like most CGI family features Chicken Little is fast, fun and imaginative enough, and the short running time ensures it never overstays its welcome.
Entertainment: 7/10

Chicken Run (2000)
Starring: Mel Gibson, Miranda Richardson
Directors: Nick Park, Peter Lord
Plot: After their villainous owners switch from selling eggs to selling chicken pies, a group of chickens hatch a plan to escape the coop led by a plucky American rooster.
Review: Chicken Run is the first feature-length production by the makers of the madcap Award-winning claymation adventures of Wallace and Gromit, and they've managed to keep their magic intact. Spoofing everything from the World War II P.O.W. movies such as Stalag 17 and Steve McQueen's The Great Escape to adventure films such as Indiana Jones, the film shows the same British sensibility and humor that made their earlier shorts such a treat, and adds some great action set-pieces to the mix. The film is an absolute joy to watch, with some of the more impressive aspects of the film including the incredible attention to detail found all the way through, the characters' design and expressions, the amazing sets and the impressive claymation effects. All these visual treats are held together by an inventive and witty screenplay that definitely makes this one of the best comedies of the year. There are a few slow moments, and even though the film's running time is quite short it doesn't quite have the same efficient pacing as the Wallace adventures, nor the same zany inventiveness. But no matter: Chicken Run is still entertaining, engaging and hilarious.
Comedy / Entertainment: 8/10

Children of Men (2006)
Starring: Clive Owen, Julianne Moore, Chiwetel Ejiofor, Claire-Hope Ashitey, Michael Caine
Director: Alfonso Cuaron
Plot: In a near-future world where women have become infertile and humanity is in decline, a former activist is charged with getting a miraculously pregnant woman to a secret sanctuary. 
Review: Adapted from the novel by author P.D. James, Children of Men transports audiences into a near-future fascist British where the apocalyptic ending of humanity comes as a whimper instead of a bang. Though infertility may the obvious cause, the film takes the opportunity to explore modern themes of terrorism, paranoia about illegal immigration and policies regarding refugees, all using shocking images of people locked in cages, violently rounded up in concentration camps and ghettos. In the hands of director Cuaron (Harry Potter and the Prisoner of Azkaban, Y Tu Mamá También) it's a bleak vision that is brilliantly defined, capturing a sense of universal despair - what is the point of going on if there is no future? It's a world that feels uncomfortably close to our own. Yet what begins as a grim SF scenario transforms into what is essentially a chase movie, one filled with impressive, complex long shots involving dozens of extras, dangerous pyrotechnics, and multiple locations. If savvy viewers will be astonished at the technical expertise at play, the sure-handed cinematography never breaks the tension and immediacy we feel at their plight. One truly memorable scene happens in the middle of a pitched battle, where all guns are silenced by the simple sound of a crying baby; it's a haunting sequence that will linger much after the film has ended. Unfortunately for some, no explanations are given as to the cause of the infertility, and many interesting questions as to the state of anarchy around the world are left unanswered - even the glimmer of hope at the end of the film leaves one without any true resolution. As the world-weary former activist, a rough-around-the-edges Owen embodies both despair and hope, never losing his appeal - even in flip-flops. The supporting cast is also terrific, including a militant Moore and a charming pot-toting Michael Caine, but it's Ashitey, as the pregnant teen, that really shines. A thrilling, though-provoking picture, Children of Men falls short of greatness, but with its technical proficiency and emotional heft it's one of the best films of the year.
Drama / Entertainment: 8/10

China Strike Force (Hong Kong - 2000)
Starring: Aaron Kwok, Mark Dacascos, Coolio
Director: Stanley Tong
Plot: Two young police officers meet up with a sexy Japanese undercover agent to bring down an international drug cartel.
Review: Produced exclusively to get HK films to penetrate the North American market - including some familiar US faces - China Strike Force is an unfortunate pilot effort, a lame, vapid effort that's too much talk too little action. The main attraction is the action, yet the fighting is for the most part badly staged, and the wire-fu is laughable due to some badly executed wire-work, but it does get somewhat redeemed thanks to three solid (if rather silly) set-pieces, including a Lamborghini / Indy Car chase in traffic, and a climactic fight as villain and heroes try to balance on a large, suspended pane of glass. Unfortunately, there's too little of it. As for the story, one should attempt to ignore it completely, though it's no easy task considering the script didn't takes extremes to pad the film with senseless dialogue. Director Tong (Supercop, Rumble in the Bronx) has hit bottom with this low-brow effort that moves in un-sustained spurts and stalls in the exposition. Even the acting is wooden: Pretty-boy Kwok is likable enough and does fine with the action stuff. Norika Fujiwara seems to have been chosen more for her generous cleavage than for her acting skills, but she is pretty to look at. As for the real star, this is a complete waste for Dacascos who really showed his considerable skills in Drive and Brotherhood of the Wolf. But the real aggravation is hip-hop singer Coolio who is a constant annoyance playing the gangster stereotype to ludicrous effect. All told, China Strike Force is a quickly forgotten effort for all involved.
Entertainment: 3/10

*Classic* Chinatown (1974)
Starring: Jack Nicholson, Faye Dunaway, John Houston
Director: Roman Polanski
Plot: A hard-nosed private eye is unwittingly dragged into a complex mystery surrounding corruption, real estate fraud, and murder in 1930's Los Angeles.
Review: Chinatown is a modern "film noir", an ode to the 40s Hammett and Chandler stories of hard-boiled detectives, but with a modern touch adding more depth and character to the mix. Robert Towne's Award-winning script, full of little realistic touches and great dialogue, is the real driving force of the movie, grabbing our attention from the beginning and slowly revealing the mystery and the dark secrets surrounding the characters and the strange events that unfold. Director Polanski's European sensibilities only increase the sense of objectivity of the camera and of the cold, hard look at the people and the plot. The cinematography is excellent, and the pacing, the tension, the drama are all perfectly laid out. Nicholson does one of his best, most convincing performances here as the sleazy private eye and Dunaway is excellent as the "femme fatale". Also impressive is John Houston's supporting role as the charming, evil land baron. All said, everything works and that makes Chinatown one of the classic films of modern cinema.
Drama / Entertainment: 9/10

A Chinese Ghost Story: The Tsui Hark Animation (Hong Kong - 1997) 
Director: Andrew Chan
Plot: Travelling the countryside with his faithful dog, a broken-hearted debt collector falls for a beautiful ghost while trying to avoid getting caught between two dueling gostbusters.
Review: Tsui Hark has been one of the driving forces of modern Hong Kong cinema and with A Chinese Ghost Story: The Tsui Hark Animation, he has decided to enter the cartoon fray with an adaptation of a classic Chinese tale. The animation here is a blend of well-produced traditional character cel drawings similar in style to Japanese anime, and rather garish, coarse-looking computer generated backgrounds that makes for a colorful creation. As for the story, there's a good dose of mad-cap adventure and entertaining magic battles that anime is famous for, as well as a rather strong romantic angle of the original tale, but it's nowhere near as interesting as the popular live action film (also produced by Tsui Hark) it takes its inspiration from. The problem is that it's aimed more at the family crowd, with corny jokes, amusing characters and, yes, even some rather bland songs to make the Disney crowd happy, but it just doesn't make a cohesive, or engaging whole. Things do move along nicely, and there's a little something for everyone, but though the potential is there the execution just misses the mark.
Entertainment: 4/10

Chinese Super Ninjas (Five Element Ninjas) (Hong Kong - 1982) 
Starring: Chen Hui-min, Chen Pei-hsi, Lo Meng
Director: Chang Cheh
Plot: After his martial arts school gets decimated, a pupil teams up with a new teacher and take revenge on a group of murderous Japanese Ninjas. 
Review: Chinese Super Ninjas is another old school kung-fu classic from the prolific Shaw Brothers studio and from director Cheh, a man who almost single-handedly created the ultra-violent genre so popular in Hong Kong exports. The exposition is brief and the revenge story paper-thin, only meant to set-up the impossible feats to martial arts - but then audiences don't watch this stuff for the sparkling dialogue. One shouldn't dwell either on the poor production values and horrible soundstage sets. Apart from a slow-moving half-hour middle sequence that makes up the "drama" of the film (insert friendship, loyalty, and treason bits for good effect) the film is pretty much nothing but martial arts action bordering on the supernatural from start to finish. True, compared to more modern fare, the action doesn't flow naturally and is evidently staged, but it's still impressive in its choreography like an intricate, bloody dance enhanced by edits, zooms, and reverse footage. The Ninja tactics and gadgets, the very selling point of the film from the hypnotizing, knife-throwing hats to the tree disguises, are inventive and fun to watch as are the gruesome ways of killing and dismembering opponents on display. It's not quite a classic, but for fans of old-style kung-fu flicks, Chinese Super Ninjas is great stuff.
Entertainment: 6/10

Chocolat (2000)
Starring: Juliette Binoche, Johnny Depp, Judi Dench
Director: Lasse Hallstrom
Plot: In the winter of 1959, a spirited single mother and her child blow into town and stir up a quiet French village by opening up an irresistible chocolate shop during Lent. 
Review: With Chocolat, Director Hallstrom (The Cider House Rules) seems to have hit his stride in Hollywood. All the elements for a typical feel-good romantic-drama have been thrown into the pot: some pretty scenery in an exotic locale where everyone speaks perfect English, a bevy of one-dimensional characters with emotional baggage needing instant romantic help, a touch of humor, and a mesmerizing leading lady. Though some of the sentimentality is sickly-sweet and the outcomes of every situation predictable, the film has a way of manipulating its audience that is so constantly charming and light-hearted that one cannot resist the temptation of falling into its design. The script also adds a certain fairy-tale narrative sense, a mystical quality to the approach of the film - is the shop owner a witch putting a chocolate spell on the inhabitants? - that works well to put us into the fable-like tone of the film. And who can resist salivating at the sight of all those delectable confections being created and displayed on screen? Rounding out the film's success is the star cast who are all in good form, if altogether unexceptional, and of course Binoche who does a fine performance as the very center of the story. Good-natured and fun, Chocolat may not be very filling or memorable, but it is a delightful film while it lasts. 
Entertainment: 7/10

Christmas in August (South Korea - 1998)
Starring: Suk-kyu Han, Eun-ha Shim, Goo Shin
Director: Jin-ho Hur
Plot: A terminally ill shop owner falls in love with one of his regular customers, a young woman who is quite forward in her interest in him but who remains ignorant of his condition.
Review: Far removed from the passionate and emotive affairs that have been the stock of Hollywood fair, Christmas in August presents a romance that is quite ordinary in its development but all the more touching for it. The two competent actors play their roles in a convincing, understated manner embodying these characters with the joy, passion and frailties of common people. The love that blossoms between them is slow, careful, completely unspoken, rarely defined, and yet touches us far deeper than any Shakespearean sonnet. As the shop owner falls deeper and deeper into his malady, all the time refusing to divulge it to those around him (in a drunken stupor he finally only jokes about it to a friend), it is all the more precious because we know that these moments are limited and their love is ephemeral. The film is slow by melodramatic standards, there is no doubt, but it is also careful in shaping the existence of its protagonists, one where friendships, everyday events and small victories take all the importance in the world - just like in our own lives. Christmas in August is not a complex story by any means, but it is a sweet, endearing portrait.
Drama: 7/10

 

The Chronicles of Narnia: The Lion, the Witch and the Wardrobe (2005)
Starring: Georgie Henley, William Moseley, Tilda Swinson
Director: Andrew Adamson
Plot: During the height of World War 2, four children travel through an enchanted wardrobe into a mythical land torn in a war between the armies of Good and Evil.
Review: Based on the first of the beloved allegorical Christian fantasy novels by C.S. Lewis, The Chronicles of Narnia: The Lion, the Witch and the Wardrobe is meant to compete with more recent family fare like Harry Potter. As fantasy adventure, it has the right elements in place - the heroic children, the fantastic creatures, the clash of armies - but that Disney insistence on commercialism seems to betray the best of intentions. As such, this impersonal affair lacks a sense of magic, adventure or fun. It's very much a children's film from a novel that went beyond being a simple children's book, and its Christian elements have been downplayed though the messiah-like Aslan the Lion is still a central focus, as is his death and resurrection. Kids will probably enjoy this, but adults will find it all somewhat dull after such rousing adventure as The Lord of the Rings, a film this one really tries to emulate. Some scenes, though, may actually be too much for youngsters, specifically a dark sacrificial scene and some of the (admittedly bloodless) combat. Even the engaging final battle between a gaggle of legendary creatures is full of detailed CGI effects that don't quite work. The exceptional highlight, however, is the aforementioned Lion who is not only exquisitely animated but, as voiced by Liam Neeson, is the most interesting character, radiating warmth and charisma. Director Adamson has lost sight of what made his popular animated film Shrek such a delight - gone is any sense of humor, and engaging story-telling. Even past the leaden first act, the rest of the film's pacing is languid at best, with only a few rousing moments to be had. The TV-quality directing doesn't help when watched on the big screen, and the sets look too much like 70's stages with little detail to get a feel for the place. The usually terrific Swinton gets to chomp the screen as the evil White Witch, but apart from the makeup and costumes, she has little to work with. The child actors are fine, if unexceptional, but their characters are rather drab. This first Narnia ends up being an awkward, overlong, workmanlike family fantasy that has little personality and one that can't sustain repeated viewings - and that's too bad as there's a decent movie in here somewhere. Hopefully the inevitable sequels will be leaner.
Entertainment: 5/10

The Chronicles of Riddick (2004)
Starring: Vin Diesel, Judi Dench. Colm Feore
Director: David Twohy
Plot: A dangerous escaped convict with a price on his head finds himself caught up in an interstellar conflict against a powerful sect that lives for War and is destroying all the planets in its path.
Review: A blockbuster-level sequel to the popular indie-level sci-fi flick Pitch Black, The Chronicles of Riddick takes on a much wider tapestry and gets to use a much bigger budget. Despite attempts to forge an "epic" in both story and depth, from the get-go this is all clearly cheesy space opera. As such, the computer effects are downright excellent, the artistic direction from the set design to the ships to the costumes makes one immediately think of David Lynch's Dune, and there's no doubt you can definitely see where the money went - sci-fi buffs will definitely gobble up the fabulous visuals. Though at first the story revolves around large-scale warfare, thrilling space battles and our "hero's" position in all of this, the film suddenly takes a tangent and throws our hero in prison, a plot that takes up a good half of the film with little to do with the overall story. When we cut back to our main story, it becomes just too simplistic with Riddick suddenly going head-to-head with the sect's leader. Apart from the opening battles, much of the action is limited to close-combat much of which is very well choreographed but so quickly edited that we don't really get a chance to experience it. Writer / director Twohy wanted to create the first part of an epic trilogy and tries to infuse the movie with enough material / background to sustain it. But though there are inklings and lots of possibilities, it almost feels like much of the real meat was left on the cutting room floor. There are lots of good ideas here, and the script could have been something more than run-of-the-mill, but it relies too much on ridiculous coincidences which mars its good points. And, apart from a few amusing one-liners, forget the dialogue, too. To be fair, the outcome is of course predictable, but the cliffhanger ending opens up some interesting possibilities. Most of the acting is about on par with this type of affair, meaning its pretty flat or overly theatrical, though Judi Dench adds a much-needed touch of class in a small supporting role and Colm Feore as the Necromonger leader make the role his own and - the real disappointment, however, is Vin Diesel who is obviously just reading the lines without any emotional resonance, thus offering up a very wooden performance. All this might be excusable, save for one thing: What was so great about the original character was that he was a true anti-hero, a callous murderer whose allegiances lay only in his own survival - this is what made the first film so different and engaging. Here he's been relegated to the role of reluctant hero, saver of children, and it just doesn't fit with the bad-ass we expected to see. Oh sure, there's attitude, but he's no longer the dangerous man he once was. Still, despite its faults, the whole thing looks great, is never boring, and makes for fine entertainment for those audiences that won't take any of this too seriously.
Entertainment: 6/10

Chunhyang (South Korea - 2001)
Starring: Lee Hae Eun, Cho Seung Woo, Lee Hyo Jung
Director: Im Kwon Taek
Plot: A courtesan's daughter stays true to her departed love, a prince gone to his studies, and suffers silently through intense pressure from a vicious lord to become part of his household.
Review: Chunhyang is an immensely popular Korean tale (akin to the West's Romeo and Juliet) that has been repeatedly adapted to the screen, but never with such big-budget spectacle. The film uses the traditional folk art of pansori, a live storytelling that uses dancing and song, to help narrate and move the story along. Though the addition of the old pansori singer, his voice hoarse with feeling, and his contemporary audience may seem an odd choice, and may break the flow for some, this frame is important to the director to give us a connection to the unfolding story. The story itself is a typical fable, a simple story given the grand visual treatment, with pageantry, melodrama, and an undying, forbidden love affair at the very center. Like most great love stories, the film centers on the restrictions placed on the lovers by society (the lovers are secretly married, but separated by class). Is it a morality tale on spousal fidelity? an anti-feminist tract? perhaps, since the men and women play their traditional 18th-century roles, but her strength of character despite the odds has a definite honorability to it (above that of her mate), especially when embellished with such splendor. Famed director Taek proves that he has not lost his touch for the delicate and the grandiose, even on his 97th film (!), showing a true mastery of the visual medium. In fact, the real treat here is the imagery; it's beautiful to look at, to experience, with an exotic mise-en-scene, lavish costumes and sets, and gorgeous decors that makes each scene resemble an intricate, brightly colored painting. In fact, every scene, every frame seems to have been planned and executed with careful precision. Though some moments, especially the scenes between the love-lost pair, are passionate, much of the film is emotionally distant, and quite theatrical in nature. The cast is handsome, with leads that were probably chosen as much for their looks as anything else. In the end, Chunhyang wins mostly as a visually evocative fairy-tale brought to life - as cinematic diversion it's well worth a look.
Entertainment / Drama: 8/10

The Cider House Rules (1999)
Starring: Tobey Maguire, Michael Caine
Director: Lasse Hallstrom
Plot: A young man, raised since birth in an orphanage in Maine by a paternal doctor, decides one day to leave the only home he has known and discover the world outside.
Review: As an adaptation from his best-selling novel, John Irving (The World According to Garp) has managed to distill the essence of the story into film form. Taken on its own, The Cider House Rules is a wonderful, touching story, full of charming characters, and heart-breaking moments. Maguire and the rest of the cast are good, but Michael Caine steals the show in one of his best roles in years as the orphanage's paternal doctor. Though the story is light-hearted, the subject matter is not - our hero lives the life of a doctor's assistant, performing deliveries of unwanted children and witnessing countless abortions, giving some scenes that make one cringe. And yet, even in this milieu, their is a caring, sometimes even misty feel to the film. An American director may have gone for the shock or melodramatic value of the story, but director Hallstrom (My Life as a Dog) provides a restrained, very European flavor to the proceedings. A wonderful film.
Drama: 8/10

Cinderella Man (2005)
Starring: Russell Crowe, Renée Zellweger, Paul Giamatti
Director: Ron Howard
Plot: After four years fighting poverty following the Great Depression, an aging, broken New York boxer makes a startling come-back in 1935, going 16 rounds against the heavyweight champ despite all odds.
Review: An aseptic but rousing biography of the fall and rise of true-life boxer James J. Braddock, Cinderella Man is another successful teaming between lead actor Crowe and director Howard after their success on A Beautiful Mind. Much like Seabiscuit, Braddock is seen as an inspiration to the downtrodden American people, driven to abandon all hope following the difficult years after the Great Depression. As such, the clichés are all in place, the underdog getting a second chance, the upright community man fighting for his family, etc. The misery caught on camera is made to be immediate and believable, but the sense of the times isn't quite there. At the same time it's all overly dramatized - the cute, sick kids; the shabby dwellings; the larger-than-life feelings - as if the original tale itself couldn't carry the message or the movie through. Yet despite the fact that it's manipulative stuff, the story and the characters remain engaging throughout. As with any film of this sort, it's the confrontations in the ring that make it or break it, and the boxing sequences are supremely engaging, especially the final championship bout: the filmmakers have learnt all the cinematic tricks to make it visceral and in-your-face, and one can't help but cheer. Howard (Apollo 13, The Missing) might well be one of the Hollywood's best present-day directors, moving from one genre to the next with great bravado and once again this is a sleek, high-production affair that's impeccably shot and directed. Crowe has the character down pat, an affable and modest man taking a second chance at his destiny, and he's got the physique and limber movements to match. The overrated Zellwegger comes off as surprisingly decent in the role of dour wife and mother. If the two leads play it to the camera far too earnestly, perhaps, at least Giamatti, as the smart-mouthed coach, makes for a multi-faceted performance that's simply electric, easily stealing all the scenes from his co-stars. Most of the boxing stuff feels quite familiar, and even the story of the rags-to-winning rise of its everyman hero is nothing new, but it's handled with such verve and attention that even this oft-told story can seem shiny and new. Cinderella Man may not be an Oscar contender, but when the marquee has this kind of clout, it's worth taking notice.
Drama: 7/10

Cinema Paradiso (1989)
Starring: Philippe Noiret, Jacques Perrin, Salvatore Cascio
Director: Giuseppe Tornatore
Plot: In post-War Italy, a young boy grows up in his conservative small town's movie house, the community's social meeting place, where he befriends the gruff but warm-hearted projectionist.
Review: Few films are truly universally appealing, but Cinema Paradiso hits just the right formula to make it so, combining the drama and human comedy of small town life with the wonder of films. There are a few interesting themes here, and the script gives audiences ample time to take in all the nuisances and humor to be found, as well as the drama (admittedly more akin to melodrama) and poignancy in the characters and situations. Sure, it shamelessly delves into manipulative sentimentality, but it's so well done and so engaging that we can't help but be taken in by the palpable sense of nostalgia on display. The cinematography is excellent, as is the cast direction, the sets, and the beguiling atmosphere. Presumably at least partly auto-biographical, writer / director Tornatore (Avalon) ably captures the feel, the hardships of small town life in post-War Italy as well as the joy and wonderment of the early days of cinema. Though American films make an appearance, this is an homage to European cinema (and specifically Italian cinema) and as such, many classic clips and movie moments are shown to the packed on-screen theater, and their reactions are priceless. Cinema has always been an escape from the harshness of reality, a lesson the young boy learns very quickly. But more than just an ode to cinema, this is a fine little drama as well. The first half, however, is by far the most cherished of the film when we follow, with the young boy, the mysteries and joy of the movie house. Noiret and the young Cascio are absolutely terrific here, and there's a real, touching father-son relationship / friendship that binds them together. The second half, as the boy grows into a young man and eventually leaves his hometown, is more of a traditional coming-of-age story, of love lost, and of returning to one's roots. This part is interesting and touching, but nowhere near as compelling as the first. The last scene, though, will bring a tear the eye of any fan of cinema. All told, Cinema Paradiso is a heart-warming and delightfully engaging experience. Winner of the Best Foreign Film Oscar.
Drama: 8/10

Cinemania (2002)
Starring: Jack Angstreich, Eric Chadbourne, Bill Heidbreder
Directors: Angela Christlieb, Stephen Kijak
Plot: Documentary follows five New York cinephiles who relate their movie obsessions and bizarre lifestyles through candid interviews.
Review: From its Euro-pop intro song, to its snippets of classic movies and close-ups of enthralled faces glaring at the lit screen, the documentary Cinemania takes audiences on an entertaining trip into the lives of "real" cinema lovers. The film's five protagonists are extremists who run their lives around their movie-going experience, their obsession verging often to psychosis. But most surprising and scary is how much real film buffs will be able to see of themselves in these characters. When they talk about their love for cinema it's immediately evident that these are obviously smart people who have made a conscious choice to avoid reality as much as possible and escape into the fantasy worlds of film. Over the months of shooting, the filmmakers have managed to capture a surprisingly intimate and often un-flattering view of their out-spoken, borderline neurotic subjects such as the film's main focus, the well-educated Jack, whose eccentricities and philosophical musings quickly tag him as a Grade-A nerd. Yet, it's also obvious that they do so with no intention of ridicule; these are folks that live on the fringe of what we might consider normal, but who are very aware of their choices. Cinema is not just a hobby for them: as one of the intones, "film is a form of living", and their daily lives are counted by the amount of movies they can watch. We see them frenetically planning for festivals, annoying projectionists, expounding on their memorabilia collections, and more. Though focusing on five cinephiles, through its exploration into their lives the doc also extends its subject to our own collective passion for film, discovering the cinema venues in New York and providing an interesting look into the business and the art that goes into film-projection. For those who have little interest in cinema, there's little reason to watch Cinemania, but for adepts of cinema this is a fascinating, often joyous and sad look at our love - and on-going obsession - for the Silver Screen.
Documentary: 7/10

*Classic* Citizen Kane (1941)
Starring: Orson Welles, Joseph Cotten
Director: Orson Welles
Plot: After the death of an infamous newspaper tycoon, a journalist searches for the meaning of the man's life and of his final words through interviews with the people who knew him best.
Review: Writer / director / producer Orson Welles' first film, Citizen Kane, is often stated as being the best film of his illustrious career, and rightly so. The techniques brought to bear here, the use of ground-breaking cinematography, camera work, and sensitive use of lights and shadow, revolutionized Hollywood film-making. But the real power of the film is the sharp, powerful script, the original use of narrative, the amazing mis-en-scene and the fascinating, multi-faceted characters which make the film such a stunning achievement. In fact, the whole film is so rich in texture, story, themes, and details that it requires repeated viewings to fully appreciate the imaginative and artistic intricacies that went into its making. Vastly underrated at the time of its release, this fictional biography has since been lauded with praise the world over. A clear masterpiece on every level, Citizen Kane easily rates as one of the most (and arguably THE most) accomplished, fascinating films ever made.
Drama: 10/10

City Hunter (Hong Kong - 1992)
Starring: Jackie Chan
Plot: In this live-action adaptation of a Japanese anime, Jackie Chan plays the role of a private detective looking for a missing heiress on a cruise ship. The ship coincidentally gets hijacked and it's up to Chan and some fellow undercover agents to save the day.
Review: The film re-creates cartoon-style action and situations with usually good results, providing some good action set pieces and some goofy comedy, but sometimes gets marred by a little too much silliness. The high point of the film sees Chan and one of the villains get sucked into a video game and fight it out as characters of Streetfighter!
Action: 6/10
Entertainment: 5/10

City of Joy (1992)
Starring: Patrick Swayze, Om Puri, Pauline Collins
Director: Roland Joffe
Plot: A disenchanted young surgeon finds his way into Calcutta where, instead of losing himself, he tries to reach redemption by helping in a poor community hospice that is under the tyranny of a local crime boss.
Review: Based on the novel by Dominique Lapierre, City of Joy wants to be an exotic, heart-warming tale of life in India. Kudos must go to director Joffé (The Killing Fields, The Mission) for trying hard to bring the street life and some of the social issues of under-priviledged city life in Indian communities to a Western audience. Unfortunately, by trying so hard to make it "comfortable", accessable and box-office-friendly, he ends up providing a formulaic, unconvincing mish-mash that quickly loses sight of both the original novel and the core of its own story. The biggest mistake by far is by trying to put the focus on the Caucasian doctor, portrayed by B-actor Swayze who exaggerates his character and swagger into a banal caricature of the American mentality and comes out as both unconvincing and silly. The Indian actors, on the other hand, are all fine, especially Om as the down-on-his-luck family man, but by insisting that they speak English amongst themselves, it breaks much of the atmosphere it so desperately tries to create. The final scenes are pure Hollywood, of course, and mar the film even more, but in its attempts to create a kind of trip-tych of Indian life, City of Joy does partly succeed. For a much better feeling of the teeming city life, and a much more convincing drama to boot, see Salaam Bombay.
Drama: 3/10

City on Fire (Hong Kong - 1987)
Starring: Chow Yun-Fat, Danny Lee
Director: Ringo Lam
Plot: An undercover cop is torn between his duty to the force, his friendships with the jewel thieves he must infiltrate, and the woman he loves.
Review: Director / screenwriter Ringo Lam (Full Contact, Maximum Risk) has produced a decent crime drama, with all the required elements for a story of this type, but one that also ends up being a tad uninspired and banal. The few action sequences are well-staged but typical, and the actual jewel heists are quite poorly realized. The two leads are always fun to watch on screen, except perhaps Chow Yun-Fat's silly performance at the beginning of the film which seems out of place with the mood of the story. In the end, City on Fire is a solid HK crime action/drama, but one that plays it a little too safe.
Entertainment: 5/10

A Civil Action (1998)
Starring: John Travolta, Robert Duvall, William H. Macy
Director: Steven Zaillian
Plot: A small-time personal injury lawyer becomes involved with his latest case involving a civil suit against two large companies who may be linked to toxic waste causing 
Review: Based on a true story, A Civil Action might at first be seen as an easy vehicle for its bankable star. Not so. Court dramas and David and Goliath stories, of "the little guy vs. the big company", have always been around, and for the most part have been popular because they reinforce our (naive) belief that justice will (eventually) prevail. One of the things that elevates the film from that pack is that events, and characters, aren't so clear cut and, though one of its characters could be deemed the "villain" of this tale, he plays a rather insignificant part in the legal battle that ensues. Even the few actual courtroom scenes aren't as energetic or melodramatic as we've come to expect, but they aren't meant to be. The real meat of the film comes from its cynicism: there is no real justice or truth in the system, there are only deals, counter-deals, and lawyers who benefit from these cases, cases that are taken for their cash value, not for their moral one. Duvall, as the veteran corporate lawyer, is a consummate actor, at the same time charming and tough, putting up a facade of the bumbling everyman that hides the wolf underneath. As for Travolta, as the more flamboyant, shoot-from-the-hip charmer, he plays his role well, never exaggerating and never cold, with the necessary amount of likability to make his gradual character development believable and always watchable. The rest of the cast is equally capable, especially Macy as the desperate firm accountant who's getting to the end of his rope. The film's technical merits should also be noted, showing off some good cinematography and some solid actor direction from Zaillian (the screenwriter of Schindler's List). The events of A Civil Action are dramatized, of course, and the social commentary doesn't pry deep enough, but as a well-produced court drama it's surprisingly effective.
Drama: 7/10

The Claim (2000)
Starring: Peter Mullan, Sarah Polley, Milla Jovovish
Director: Michael Winterbottom
Plot: A tough town boss must face his past when the wife and daughter he abandoned for a gold claim return into his life just as a young railroad engineer arrives to decide if the train (and its prospects) will bypass his settlement.
Review: Though historically situated in the American West of the mid 1800's, The Claim is more a drama of the building of a new country than a remake (or re-imagining) of the tried-and-true Western. Loosely based on "The Mayor of Casterbridge" by Thomas Hardy, it is a story of loss and attempted redemption using a recurring theme of the genre, how small communities dealt with the inevitability of change. Carefully filmed and sustained, and taking a probable cue from Robert Altman's classic Western McCabe and Mrs. Miller, director Winterbottom sets the right down-to-earth, gritty tone, depicting the harsh reality of life in a frontier town, full of interesting details that give substance to their hardships, and the fruit of work that comes from primal endurance and willpower. The film also eschews the usual desert setting for snow, making the production seem particularly exotic. The frozen landscape of the Sierra Nevada is grand and overpowering, a terrific setting for the evolving drama, expertly captured by some crisp, clean cinematography. The restrained emotions are more important than dialogue, and for this the cast is superb, with solid performances from Bentley, Nastassja Kinski and Sarah Polley. Special kudos should go to Milla Jovovish, as the tough bar owner, who proves she actually does have some acting chops. But the real surprise is Mullen as the central tragic figure, who not only carries the film's dramatic weight but also manages to provide a fully formed persona that engenders sympathy, pity and revulsion in equal parts. With so many important characters vying for story importance, only his is truly developed, but then this is really his story. As both internal forces (his guilt over abandoning his wife and daughter, fear of losing his hold on his town) and external ones (the collapse of the Gold Rush economy to that of the "modern" train) join to bring his downfall, his desperation mounts. As this happens, so does his rage and feelings of powerlessness against these forces of change, and here the film takes on the feel of an epic, almost Shakespearean tragedy (some have even compared it to King Lear). The Claim isn't a mainstream affair, and those expecting gunfights and Indians won't find anything to please them here. What there is, however, is a fine portrayal of the difficulties and personal dramas surrounding the conquest of the West.
Drama: 7/10

Clash of the Titans (1981)
Starring: Harry Hamlin, Claire Bloom, Laurence Olivier
Director: Desmond Davis
Plot: The Greek hero Perseus, half-son of Zeus, must save the city of Jarra and prove himself against such legendary creatures as Medusa and the Krakken.
Review: Clash of the Titans is a big-budget fantasy / adventure yarn in the grand Hollywood mould of old. The film's main selling point is the terrific special effects work by the legendary Ray Harryhausen, the guru of stop-motion creature animation. Of course, this is a long way from more modern computer-generated fare, but the creature effects are pretty good in a Saturday-matinee sort of way, and for the most part it works pretty well. Though the lengthy narrative sometimes feels much leisurely paced than necessary, and there's a certain amount of that '80s campiness to the proceedings, the story and adventure elements are engaging enough (and the production values nice enough) to keep the movie chugging along. Hamlin, as Perseus, is about as convincing as one of the film's plastic creatures, but then the movie's strong point isn't in its characterizations. Even the rest of the star-studded cast (including Laurence Olivier, Maggie Smith and Burgess Meredith) is only adequate for the job, and one can't help feeling that they're all kind of slumming it here. The Greek mythology is well presented, however, and some of Perseus' exploits are indeed thrilling (especially his encounter with the slithering Medusa) and in the end that's what audiences are here for. Clash of the Titans is an entertaining effort for those willing to accept the dated effects and one-dimensional characters, and it's a great showcase for Harryhausen's work.
Entertainment: 6/10

Clear and Present Danger (1994)
Starring: Harrison Ford, Willem Dafoe, James Earl Jones
Director: Phillip Noyce
Plot: After the assassination of a close friend of the president by a Colombian drug lord, a government analyst promoted to CIA head must uncover an illegal, far-ranging plot to send covert U.S. commandos into Latin America.
Review: An excellent thriller, and a damn fine action flick to boot, Clear and Present Danger is easily the best adaptation yet of a Clancy novel. Like previous efforts (The Hunt for Red October, The Sum of All Fears) the script takes liberties with its source material, but it dilutes it to make for a film that stands out on its own. It's a story about the corruption of American decision-makers and the back-stabbing going on in the corridors of power, with a mix of international drug cartels, presidential politics and double-dealings to go with it. There's a surprising amount of "grey" involved here, and even the bad guys make good points, adding a certain realism to the proceedings. It also catches and maintains the right tone, mixing the under-handed political maneuvering with some fine "gee whiz" type of high-tech gadgetry. Director Noyce (Patriot Games, The Bone Collector) did a bang-up job of fleshing out the narrative, creating a good deal of suspense, and (though there aren't many of them) delivering some very well executed, and quite exciting, action sequences to boot. Ford is quite believable as the "boy scout" Ryan character, though he never gets to be more than just another white-bread Hollywood hero. The rest of the cast is quite solid in their respective roles, with lots of familiar faces, though only Jones and Dafoe make any real impact. And that's the only problem here: the convoluted, intricate plot takes precedence over its characters, though to be fair, in this case it's not a bad thing. The climax, as Ford turns from pencil-pusher to action hero, is thankfully not too exaggerated (he never evens holds a gun) though the holier-than-thou final act, when a furious Ford takes it out on the President, is a little stale. Still, by then Clear and Present Danger has made its mark as a thoroughly enjoyable, well-made mainstream thriller.
Entertainment: 8/10

Cliffhanger (1993)
Starring: Sylvester Stallone, John Lithgow, Michael Rooker
Director: Renny Harlin
Plot: Two mountaineers are forced to aid a gang of ruthless criminals find three briefcases full of millions that were lost during a failed mid-air hijacking over the Colorado Rockies.
Review: After a long series of duds, Stallone came back to the genre he's most famous for with Cliffhanger, a traditional, high-concept blockbuster that delivers exactly what audiences expect. Director Harlin, who showed that he had a good hand for this kind of film with Die Hard 2, proves that his success wasn't a fluke here by offering up a fast-paced, well-shot affair with a good amount of tension built in. Though the dramatic elements are mere filler and mostly unconvincing (the half loyalty, half hostility between the two mountaineers, the tepid love-interest) these moments add just the right amount of salt to the story, setting up the real meat of the affair: the action. These sequences are big, bold, and exciting, making good use of the mountain settings with vertiginous stunts overlooking the precipice and some spectacular set-pieces including the mid-air hijacking segment, multiple avalanches, some death-defying sheer-face climbs and jumps, and a finale atop a precariously held helicopter. Add to this a required amount of gunplay and explosions, and old-fashioned pummeling, and you've got a fun, well-made product. It's too bad Lithgow, as the psychotic ring-leader, is so bland and paint-by-numbers, his personality made up only of sneers, leers and a half-dozen quips such as "You want to kill me? Take a number and get in line." His henchmen are just as one-dimensional. Stallone, however, has never been better and has rarely been used better - though it's no stretch for his on-screen persona, this is easily his most satisfying film in a long time. In many ways Cliffhanger may be another derivative big-budget thriller, but as effective summer-type fun it has all the right stuff.
Entertainment: 7/10

Close Encounters of the Third Kind (1977)
Starring: Richard Dreyfuss, Francois Truffaut, Melinda Dillon
Director: Steven Spielberg
Review: Popular director Spielberg (Jaws, Saving Private Ryan) was at the height of his popularity when he decided to write and direct Close Encounters of the Third Kind, a big-budget tale of first contact. Spielberg has always been a consummate storyteller, and this film is no exception,