Movie Review Library - D

Below are all the older reviews I have written for this site. Make sure you see the Latest Video Reviews page as well!

Dancer in the Dark (2000)
Starring: Bjork, Catherine Deneuve, David Morse
Director: Lars von Trier
Plot: In 1964 a Czech immigrant works in a factory through her impending blindness to save up enough money to provide an eye operation for her son and manages to keep depression at bay thanks to her love of Hollywood musicals.
Review: Dancer in the Dark is another installment in director von Trier's series of films dealing with innocent, courageous women falling into the depths of despair. But where Breaking the Waves was a particularly bleak and powerful film, Dancer goes the way of forced melodrama to show the fall of its lead. And there lies the main problem - by trying too hard for emotional wallops the film eventually loses the audience. The startling ending makes up for much, though, and un-expecting viewers may find it disturbing but it seems a shallow statement compared to Kieslowski's Thou Shalt Not Kill. Trier's trademark "cinéma-vérité" style and use of handheld cameras is still evident but thankfully a little more stable. The musical numbers that crop up more and more often as the film develops are interesting and creative in their choreography, backed by Bjork's distinctive song style, and are stark as is necessary for the depiction of her dreams, but lack the energy of the Hollywood productions they are inspired from. The cast, though, is good across the board, especially Bjork who does a convincing performance as the waif-like single mother, and whose innocence and passion lightens up the screen, and Deneuve, classy and charming as always. Love it or hate it, it's difficult to be left indifferent by Dancer in the Dark and in his quest to polarize his audience, von Trier has definitely succeeded.
Drama: 6/10

Dans une galaxie près de chez vous - Le film (Quebec - 2004)
Starring: Guy Jodoin, Stéphane Crête, Claude Legault
Director: Claude Desrosiers
Plot: After Earth's ozone layer has been destroyed by pollution, a spaceship and her Canadian crew is sent to explore the galaxy to find a new home for humanity.
Review: The popular four-year-old local TV series (roughly translated as "In A Galaxy in Your Neighborhood") is given a boost in its first full-length feature. Not that the production values are impressive (they're not), but the low-budget antics, cheesy special-effects, and way, way over-the-top acting by the comic cast all add to the charm of this well-scripted, amusing parody. Taking obvious cues from such TV series stalwarts such as Star Trek and Space 1999 in its mission and crew interactions, and even the idea of Lost in Space's evil doctor, the film is an amusing romp into the familiar sci-fi adventures of our youth. Though the story feels slightly "episode"-based, the different acts are strung together well. The writers even add in some socially relevant themes, though these are presented in a form that's too shallow for anyone but kids. Still, the show might have originally been aimed for a more young-teen audience, but as more and more adults have turned to fans of the series the script has somewhat matured as well - not to say it's not immature at times as necessary, but it never insults its audience making the jokes and general silliness quite effective. There are also lots of visual gags to be found and it's obvious everyone had a ball doing the film. Some of the terrific language puns and innuendos might be lost in translation, but afficionados of B-movies will be entertained throughout. As a humorous take on sci-fi themes and a welcome extension to the cult series, Dans une galaxie près de chez vous has lots to offer those willing to give it a chance.
Entertainment: 6/10

Daredevil (2003)
Starring: Ben Affleck, Jennifer Garner, Michael Clarke Duncan
Director: Mark Steven Johnson
Plot: A blind New York lawyer with super-human senses fights for justice as a leather-clad vigilante but meets his match when he falls for a skilled heiress who is the target of a crime lord and his deadly henchman.
Review: The adaptation of comic hero Daredevil goes for a more gritty look than recent such efforts (shades of the original Batman come to mind), with the dark atmosphere and dark characters both intensified to ridiculous extremes. There are also a lot of clichés to be had, of course, but it does take a few risks and there are good things to be had: the origin story is left pretty much intact, the human element of the plot is more engaging than not, and there's some wild, over-the-top stuff to make almost anyone (and DD fans especially) giddy with excitement. The tone is indeed black, and the shadows pervade everything (often way too much, in fact), creating a "dark" comic-book tone that seems rather bland and overused, copying more of the tried-and-true than reaching for its own voice. The stunts and special effects are adequate, and the fight choreography is impressive, but it's just too bad that the frenetically-paced action is spoiled by low lighting and an editing-on-speed process, making us miss much of the razzle-dazzle. The main problem is that all the parts just don't gel together with the consistency of the scenes wildly uneven: some are clever, exciting and engaging, while others are badly drawn, amateurish, or just plain bland. A particular "boo" goes to the terrible choice of music, a soundtrack that can't decide between heavy metal and violin strings. As for the cast, Affleck and Garner do just fine as the leather-clad leads (striking the right poses in all the right places) and Duncan is a different genre of Kingpin, but it's really Colin Farell who steals the show with a real psychotic turn as the deadly Bullseye. There's a touch of humor included with the mayhem and violence, too, as well as a decent dose of necessary romance. The pacing, though, isn't always assured, as if writer / director Johnson tried to force too many aspects of the comic books into a single movie. To be fair, this concoction comes out a lot better than one would expect, but not as good as the more light-hearted and engaging Spider-Man. Still, the film sets itself up for the inevitable sequel, and one can only hope that Daredevil has a chance of becoming a better franchise.
Entertainment: 6/10

Dark Blue (2003)
Starring: Kurt Russell, Ving Rhames, Scott Speedman
Director: Ron Shelton
Plot: In the midst of the Rodney King trial, a dirty, veteran LAPD cop and his rookie partner investigate a quadruple homicide that leads straight to their crooked chief.
Review: Following in the footsteps of classic police dramas, Dark Blue plays it straight and offers up a typical working of the genre film who's high point is definitely it's main star. With the tense shadow of the 1992 LA riots rising in the background (and eventually in the foreground), the story makes parallels to the trial of the four policemen charged with the Rodney King beatings and the story's players. There are no real surprises to be had for those familiar with any of the many police dramas of the last few years, but though it's a small-scale film that doesn't have any high expectations, it's consistently engaging and provides some powerful punches. Not surprisingly, the script was co-written by L.A. Confidential author James Ellroy and was adapted by David Ayer who scripted Training Day: the same dark side of the badge is explored through the eyes of a rookie cop and his veteran (read unethical) partner. Though nothing here is subtle, at least most of the narrative had an intensity and grittiness that grabs our attention. The heavy-handed final act, as the city burns and our anti-hero spills his guts in front of his distanced family and peers is a Hollywood cop-out that mars the rest of the film. If the direction isn't quite stellar, at least Shelton (best known for his sports-themed features such as Bull Durham and Tin Cup) works the story's important scenes in an efficient manner and captures well the inner demons of the main characters. Lead man Russell finally finds a film where he can shine and provides a textured, complex dramatic role as the failed investigator, repugnant and sympathetic in equal doses. His performance adds much to the film. As his bigoted, crooked boss, Brendan Gleeson is gleefully evil and dangerous and gives the film's real stand-out performance. After all is said and done, Dark Blue comes off as an average, well-made police drama and, though it delves into familiar territory, makes for an engaging and worthy effort.
Drama: 6/10

Dark City (1998)
Starring: Rufus Sewell, William Hurt, Kiefer Sutherland, Jennifer Connelly
Director: Alex Proyas
Plot: Having lost all memory of who he is, a man finds himself blamed for murder and goes on the run from a homicide detective and some mysterious beings with alien telekinetic powers who have their own dark plans.
Review: An original science-fiction flick, Dark City will probably have as many detractors as fans thanks to a concept that's quite risky for a feature film: think of a big-budget Twilight Zone episode, one that puts more emphasis on making a statement than on providing mainstream thrills. Set as a mystery, the story quickly revolves around the theme of identity and self-awareness as the present reality crumbles and another, darker one takes form. It's a theme that was later successfully approached in The Matrix, and its obvious much of the latter film's ideas stemmed from this one. After making such a splash with his first Gothic effort The Crow, director and co-writer Proyas (I, Robot) steps up to the bat with his second feature and shows a definite maturing in his approach. The visuals and retro-style are reminiscent of film noir, the imaginary night-time world a depressing mix of imposing architecture and lost hope. The idea of German Expressionism continues past the sets with the alien creatures, who have a stunning resemblance to the classic 1920's vampire character Nosferatu - bald, sickly-skin, and afraid of the light. Their existential search for humanity - and the way they go about it - makes for an interesting twist, and elevates the film past its kin. A nice cast helps move things along, and if hero Sewell comes off as kind of bland at least his supporting cast, including an Igor-like Sutherland, hard-nosed dick Hurt and the always luscious Connelly, make up for it. If it can't quite sustain its pacing or its ideas until the end, Dark City remains a thought-provoking, stylish SF that's arguably a cult classic in the making.
Entertainment: 7/10

Dark Days (2000)
Director: Marc Singer
Plot: Documentary following a small group of homeless who live in makeshift shelters in an abandoned Amtrak railway tunnel under Manhattan.
Review: Winner of the Audience Award at Sundance 2000, Dark Days is an unflinching, honest documentary on the lives of a small homeless community. Inexperienced director Singer lived with them on and off for years and used his own subjects to help him shoot the film. This bond allowed him to shoot a series of interview and conversations that are amazingly candid and revealing, creating a surprising intimacy with them. The stories of drug abuse, family loss, unemployment that have brought them here is sometimes harrowing, sometimes heart-wrenching, none of these more so than the one by Dee who lost her two children to a fire while she was in prison and now takes crack to forget the painful memory. There's a definite sadness and desperation here amidst the apparent normalcy of their everyday lives, but they don't want pity; this is their life and they have come to terms with it. And so they also talk about food, scrounging, setting their makeshift homes, defining their plights. The film breaks the usual anonymity and presents them not as helpless victims but as normal people who have faced hard luck and difficult circumstances and are now doing the best they can. The "silent" scenes, of trains passing above, or of the squalor of the surroundings, however, are the most effective: without the need for dialogue or voice-overs, we can see the desolation of these caverns and of its people hidden away from society. The stark visuals made up from black and white, stark, grainy 16mm footage isn't always professional-looking, but that only makes it all more immediate. The effective, moody electronic soundtrack by DJ Shadow only enhances the feeling. The film's final segment, quickly showing a legal battle with Amtrak who wants to forcibly evict them from their shacks and finally being relocated to temporary housing, is a little heavy-handed and a bit abrupt compared to the rest of the film. One can't begrudge the need for the upbeat ending, but after everything that's come before, it seems a little too easy; they seem happy and full of hope now, but will it last? Still, for most of its length, Dark Days is a fascinating, worthwhile document.
Documentary: 7/10

Darkman (1990)
Starring: Liam Neeson, Frances McDormand, Larry Drake
Director: Sam Raimi
Plot: A disfigured scientist forced to hide under cloaks, perfects a radical skin-graft technique that allows him to change his face and seek revenge on the vicious criminals who destroyed his lab and left him for dead.
Review: Darkman is a super-hero movie as only co-writer / director Sam Raimi could do it. Not wanting to be shackled by existing fan perceptions, the filmmakers have created a new, somber super-hero that's gruesome and comic at the same time, allowing the film to take its own chances and avoiding comparisons. Showing a great flair for a material, it delivers a very dark take on the genre, full of stylized, over-the-top violence, exaggerated villains, and inventive all with visuals and cinematography that marry the style of the genre it evokes. Even though done on a modest budget, the influence of Raimi's own Evil Dead 2 is eminently visible in both the dynamic (some would say crazed) camera work and the almost cartoon-like surreal imagery. The pacing is also excellent, blending pathos and grand melodrama with clever situations, suspense, a good dose of action, and some of Raimi's trademark gallows humor without missing a beat. Taking a cue on the shadowy world of Batman, the film displays some great imagery that seems to come right off the comic page such as the figure of Darkman amidst the shadowed gargoyles, trench coat flowing. The fake backgrounds, the energy, the colorful over-stylized shots, it just looks like a comic-book should. In fact years later Raimi used the experience here to good effect on Spider-Man. As the titular character, Neeson shows off anguish and anger in an over-the-top manner befitting the rest of the film and its required comic-book emotional range. Even when he's cloaked and bandaged he shows the battle with the growing monster inside him, coming off as much avenger as victim. The rest of the supporting cast is fine, with baddie Drake really hamming it up to extremes. As a modern take on the Phantom of the Opera, it may not be terribly original, but with Raimi's unusual approach - a mix of the dramatic and the high-camp - Darkman is a film that has all the verve and inventiveness to make it a cult classic.
Entertainment: 7/10

Darkness Falls (2003)
Starring: Chaney Kley, Emma Caulfield, Andrew Bayly
Director: Jonathan Liebesman
Plot: A photographer returns to his home town to protect the young brother of an old flame from a vengeful spirit who was lynched 150 years earlier by the townspeople and has come back to haunt them in the form of the Tooth Fairy.
Review: Darkness Falls starts off with a decent premise, but ends up as just another bad genre attempt that's too predictable and familiar to be enjoyable. The story is a pretty banal re-hash of other films, a by-the-numbers tale that doesn't even try to be anything but a quick thrill - we never get a feel for the characters and even the community is but a a generic American-small-town fabrication. It's also full of the usual horror clichés without bringing anything new, which may have been fun the first time, but loses its charm (or its surprise) at the umpteenth repetition. There are some good effects and camera work editing to make the creature look supernatural, but the monster just doesn't cut it - she's just not very scary. In fact she looks like a generic monster, very much like the costume in Scream, actually. And though there's an effective scene in the police station as the cops try to defend themselves to little avail from a ghost-like entity, the thrills in general are quite limited. To be fair the direction by first-timer Liebesman is efficient and decent, the cinematography is good and the production is decent, giving a fine sense of darkness and creepiness to this slick B-movie. The two leads actually do much better than expected here, but the young boy isn't very convincing. Finally, the last stand in a lighthouse builds some suspense, but the heroes' attempts at gathering light to stave off the creature becomes downright silly. What is also worth mentioning is that there's little or no blood whatsoever to be found on-screen, despite lots of killings. Mildly entertaining, an eminently forgettable, Darkness Falls is just junk food entertainment.
Entertainment / Horror: 3/10

Dave (1993)
Starring: Kevin Kline, Sigourney Weaver, Frank Langella
Director: Ivan Reitman
Plot: After the President is incapacitated by a stroke, a part-time actor who closely resembles him is forced to take his place and act as a puppet for a Machiavellian aide.
Review: Director Reitman (best known for Ghostbusters) takes an benevolently cynical attitude towards American politics and the Presidency with Dave, a tale of mistaken identity and associated shenanigans, and manages to make it one of the better movies of his career. There's nothing spectacular to be had, and much of it is derivative of other genre films, but it moves along pretty well and it's polished enough to make for an above-average mainstream genre film. Though there are few really memorable moments, the situations are mostly amusing, especially those of the fish-out-of-water variety as the good-natured everyman Kline tries to break into his new role. Indeed, Kline is at his best here as the innocent, patriotic idealist forced into a pit of wolves, and Weaver, as the regal First Lady, does wonders with the little she has to work with. Unfortunately, the characters are your basic caricatures, and never get much to do - you've got the evil, Machiavellian right-hand man (played to great effect by Langella), the bright but easily manipulated aide, etc. The ridiculous amount of cameos from real-life politicians starts getting a little tiring at times, but should be a hoot for political junkies. As satire, Dave is too toothless to really have any political bite, but as comedy it's warm-hearted and good-natured enough to appeal to most audiences.
Comedy: 6/10

Dave Chappelle's Block Party (2006)
Starring: Dave Chappelle
Director: Michel Gondry
Plot: Dave Chappelle brings together his own brand of comedy and loads of hip-hop / rap stars to Brooklyn for one massive all-day block party.
Review: A slightly different idea on the concert movie, funnyman Dave Chappelle's Block Party is a sort of thank you to his community, in the hopes of bringing people together - it's also just an excuse to make a low-budget film to show he still has what it takes for showbiz after a publicized psychological breakdown. On the plus side, the video cameras are everywhere, giving us a good sense of being part of the crowd while still having the best seats of the house. With such names as The Fugees (reunited), Common, Kanye West, Mos Def, Dead Prez and Lauryn Hill all jamming on stage, the film pretty much works on its own. Too bad, then, that Chappelle needs to make this film about himself, often interrupting the flow with some tired social or political commentary and half-baked comedy. There's a definite sense of spontaneity that's been captured on screen, but it also seems that much of the idea and work behind the scenes was pretty haphazard, with Chappelle and company stumbling along trying to get enough interlude material to fill in a full-length documentary. What we get is a lot of wandering around his Ohio birthplace, shooting the shit with locals, and then the same in Brooklyn. They should have stuck to the music and the energetic dynamics of the performers, or thought of getting more comics to help him along. As it stands, fans of rap and hip-hop - or of Chappelle's off the cuff humor - might get a kick from seeing some strong talents work their magic live, but this Block Party doesn't have universal appeal.
Documentary: 5/10

 

The Da Vinci Code (2006)
Starring: Tom Hanks, Audrey Tautou, Ian McKellen
Director: Ron Howard
Plot: A symbologist professor and a female cryptologist get entangled in a race against time to find a secret that could destroy the Church after the curator for The Louvre is found murdered next to the Mona Lisa.
Review: A semi-fictional treasure-hunt into Christianity's history, the film adaptation of the virtual pop phenomena that is Dan Brown's international best-seller The Da Vinci Code should have been so much more. The script is a rather faithful adaptation, but though the "mystery revelations" have been kept intact, the most interesting aspects of the book (the extended exposition scenes that reveled in the fascinating historical facts and the author's clever but tenuous links) had to go by the way-side. The problem is that seen solely as a thriller it all comes off as a bit dull - not that it's ever boring, but the pacing is erratic, the visuals are uninteresting, and there's too little intrigue. Worse, when it tries for action it's rather scattershot. With director Howard (Apollo 13, A Beautiful Mind) at the helm, this should have been a fast-paced guilty pleasure, but he's decided to shoot it in the straightforward and soulless manner one would have expected from a TV movie, not a big-budget production. We also only get brief glimpses at the churches and the Da Vinci paintings, yet lots of uninteresting close-ups of the actors. One nice touch are the short, color-blind historical flashbacks that add some much needed spice. The characters never get any kind of personality, their back stories told in supra-edited flashbacks. French actress Tautou is terrific and McKellan is at his campy extreme, but Hanks seems too demure and quiet to make any impression. Thankfully, there are interesting supporting roles by a bevy of B-list actors like Molina as the Opus Dei priest and Paul Bettany as the Albino monk / assassin. In the end, much like the book, the movie is high concept commercial entertainment broken down for easy popular consumption. On its own The Da Vinci Code is a decent enough, smart enough thriller that's worth the trip if only to present a different view of accepted history. (Check out the extended review!)
Entertainment: 6/10

Dawn of the Dead (1979)
Starring: David Emge, Ken Foree, Scott Reiniger
Director: George A. Romero
Plot: As the dead come back to life hungering for flesh, four survivors seek shelter in a zombie-infested shopping mall as the world crumbles around them.
Review: A "sequel" of sorts to the genre's precursor, Night of the Living Dead, Dawn of the Dead is regarded as director Romero's zombie masterpiece. Once again the film starts off with the world in panic with the reasons for the macabre events are kept obscure, leaving the story to Romero's obvious pet subjects of racism in society, the brainwashing of the American public and our rampant consumerism. But even without the in-your-face sub-text the film delivers, combining black comedy and a multitude of body horror sequences and unflinching special-effects gross-outs. True, though the effects may have seemed incredibly real when the film first came out, and some of it is still quite effective, modern audiences with experience in state-of-the-art gore will probably laugh more than squirm. There are some down-sides, including the bad acting by all parties, the uneven pacing and the slow, dragging middle section of the film when the small group sets up a home in the mall. The last third makes up for everything, though, with a no-holds barred gore-fest interspersed with some great gags. Highly recommended for horror fans, but others may want to pass.
Entertainment: 6/10

Dawn of the Dead (2004)
Starring: Ving Rhames, Sarah Polley, Jake Weber
Director: Zack Snyder
Plot: When a strange epidmeic turns corpses into flesh-eating zombies, a handful of survivors escape and barricade themselves in a deserted shopping mall for shelter.
Review: A remake of George Romero's cult classic, the new Dawn of the Dead is a surprisingly fun horror flick that sticks to the basics. The filmmakers do take some liberties with its modernization by updating the slow-moving undead with faster, nastier zombies, and adding in some better bloody effects and make-up - all of which is a good thing. Teen audiences will probably enjoy the fact that it has a larger body-count, more violent tendencies, lots of well-done gore, a good dose of necessary black humor, and a much quicker pace. Of note, especially, are the harrowing first 5 minutes (the end of domestic normalcy) and the high carnage of the last 20, a chaotic struggle to reach port amidst hundreds of zombies. Director Snyder has created a slick commercial product, one that grabs attention and plows through with rarely a slow moment. The one disappointing part is the removal from the mix of the social themes made evident in the original (and which made it a superior horror film) such as the issue of racism and our rampant consumerism. Some of the scenes are still there, but they lack any of the sub-text. Perhaps it's just a sign of the times, but 70's horror carried more punch than just the visceral kind of recent fare. The leads are a pleasant surprise for such a B-type effort, including indie star Polley and fan-favorite Rhames, but the script doesn't allow much in the way of characterization, and just about everyone is just food for slaughter. Still, as a straight-forward zombie movie this Dawn of the Dead delivers the good gory fun one expects, if nothing more.
Horror: 6/10

The Day After Tomorrow (2004)
Starring: Dennis Quaid, Jake Gyllenhaal, Ian Holm
Director: Roland Emmerich
Plot: After the world leaders fail to heed his warnings, an expert climatologist must face the elements to reach his son trapped in a frost-covered New York after the Northern Hemisphere is plunged into a new Ice Age.
Review: The socially-conscious blockbuster The Day After Tomorrow follows the Irwin Allen school of disaster films: high on concept, effects and destruction, low on believable drama. Some environmental groups have claimed it's a statement on US environmental policy (and we do see our current politicians parodied to no end when faced with the dilemma of what to do) but the movie never actually talks about why we now face global warming, or what we should do about it. Sure, the premise is just another marketing excuse to justify another effects-laden summer outing, but surprisingly, more than just thrills, there's also a feeling of justifiable scariness in the proceedings. We can stop madmen from blowing up the world, but how do you overcome Mother Nature gone wild? The science (which is only briefly touched upon) is more fantasy than fact but still possible, apart of course for the "artistic liberty" of having a new Ice Age come upon us in a matter of weeks instead of centuries. More importantly, the scenes of natural destruction are stunning and grandiose and worth watching on a big screen. Once again, cinema's love for destroying its two favorite cities takes the cake: be it seeing LA buildings being torn asunder by tornados (Twister, eat your heart out), or New York streets being gutted by a huge tidal wave and its people frozen instantly by a sudden cold snap, it will leave most audiences riveted. Suffice to say there's a definite fascination at seeing things gets wrecked big-time, and writer / director Emmerich (Independence Day, Stargate) knows it well. In fact, he's at his best overseeing the spectacles and frenzied mobs. When it comes to the more individual dramatic moments, however, he seems more at a loss though it does come out better than his previous outings. Despite the obviously little effort put into the human drama, which takes a large chunk of the film's running time, the film remains engaging enough, the pacing surprisingly balanced between the large-scale and small-scale moments. Quaid as the Hero scientist in search for his son is amazingly stiff, if not downright wooden, and looks to be sleepwalking in the role. Gyllenhaal, as the son, is only a tad more convincing, as are the rest of the supporting cast. Only Brit actor Holm manages to rise above the material in a limited performance. To be fair, the actors or their stories aren't the reason to see the movie - they're only window-dressing (filler?) in-between the computer-generated sequences. So enjoy this latest summer popcorn film for what it is: an impressive Hollywood-styled cautionary tale, one to be enjoyed for the terrific visuals and not the forgettable characters.
Entertainment: 7/10

*Classic* The Day the Earth Stood Still (1951)
Starring: Michael Rennie, Patricia Neal, Hugh Marlowe
Director: Robert Wise
Plot: An alien spaceship lands in Washington with a warning for the world, but fear and human nature force the messenger to escape into the city and mingle with a young boy and his mother, while his all-powerful robot prepares to destroy the world.
Review: "Gort! Klaatu barada nikto!" And with those words, along with the image of the massive stark silver 7'7" robot, The Day the Earth Stood Still became cinematic history. One of the main reasons it's such a respected SF classic is that it promotes ideas and themes from SF literature (it being an adaptation of the story "Farewell to the Master" from Astounding magazine itself) instead of the campy ray-gun and space-monster B-movies that have since been the norm. It's also one of the first serious SF films from Hollywood; more literate-minded than later '50s products, it also works better than most and remains just as relevant today. The opening sequence, as the alien lands and confronts the power of the US Army and reduces it to slag (all to a terrific musical score), is particularly thrilling and even the rather limited SFX are still quite effective, as is the suspense of the last moments. However, this is story made as a commentary on human nature, as well as one on the times, and in an era when the atomic bomb was a new-found fear, the film tried to promote a message of peace by showing us how insignificant our hatreds and differences really are. Robert Wise is perhaps best remembered for directing such classics as The Sound of Music and West Side Story, but he also did well with science fiction thrillers from The Andromeda Strain to Star Trek: The Motion Picture, and his abilities show even in this, one of his earlier forays into film. The cast is also pretty good for such an endeavor and Rennie especially, as the human-like visitor, does a fine job of making it believable. The precursor to a slew of '50s efforts, and the daddy of modern screen SF, The Day the Earth Stood Still stands tall as one of the true SF cinema classics.
Entertainment: 8/10

Days of Being Wild (Hong Kong - 1990)
Starring: Leslie Cheung, Maggie Cheung, Andy Lau
Director: Wong Kar-Wai
Plot: Indifferent with his relationships and the people who come in and out of his life, a self-obsessed, disillusioned young man living off his adoptive mother tries to fill the emptiness in him by seeking his natural mother in the Philippines.
Review: Hong Kong auteur Wong Kar-Wai (Chungking Express, In the Mood for Love) got a lot of notice for his second film, Days of Being Wild, and for good reason. As in Kar-Wai's other works, the standard story structure takes a back seat to emotions and feelings, in this case presenting the wandering life of its anti-hero and his slow, predictable, self-destruction. The film is stylishly directed with Kar-Wai's trademark cinematography and long takes, managing to sustain an atmosphere of abandonment and melancholy thanks to minimal almost claustrophobic sets, a reduced color palette and some good use of shadows. The protagonists who become entangled in his life are all ably presented, thanks to a strong cast that manages to portray the characters with little dialogue but very expressive looks and body movements. Exceptional performances by both Leslie Cheung and Maggie Cheung also help lift an otherwise dreary exploration of failed relationships into a fascinating, if altogether depressing, search for identity and human comfort. The final two-minute sequence with Tony Leung (who appears only then, alone, without making a sound) is a complete head-scratcher, but then, Wong Kar-Wai knows how to get everyone talking.
Drama: 7/10

Dead Again (1991)
Starring: Kenneth Branagh, Emma Thompson, Andy Garcia
Director: Kenneth Branagh
Plot: A private investigator tries to discover the identity of a woman fallen prone to amnesia but regression hypnosis to a past life seems to indicate the two are connected to a murder committed in the 1940's.
Review: From an interesting premise, director / actor / screenwriter Branagh offers up a delightful homage to Hitchcock with Dead Again, his second feature after Henry V, keeping the essence of the Master's works and yet imbuing it with a style and easy intrigue all his own. Though this type of mystery relies on surprising its audience with clever revelations, the film is more than its admittedly original, and memorable plot twists. The story incorporating the themes of chance and fate is excellent, paralleling the stories of the tragic romance of its characters in the 1940's with the re-incarnated couple's lives in 1991 L.A. with perfect editing and pacing. Indeed the narrative keeps the intrigue throughout with a perfect mix of exposition, charismatic performances, a good dose of suspense, and even Hollywood-style romance. One of the reasons for this is that the smart, deft script allows for enough uncertainty and even the occasional red herring to keep audiences guessing, and the material lively enough to keep us entertained. Branagh and Thompson (who were married at the time) have great chemistry together and pull their dual roles off brilliantly. Robin Williams, in a cameo appearance as a down-and-out psychiatrist is also a hoot to watch in a darkly humorous role. Dead Again is a terrific supernatural mystery with an intelligent script whose elements of romance, humor, and suspense make it one of the best thrillers in a long time.
Entertainment: 8/10

Dead Alive (aka. Braindead) (1993)
Starring: Timothy Balme, Diana Peñalver, Elizabeth Moody
Director: Peter Jackson
Plot: After seeing his overbearing mother turned into a zombie, a young man tries to prevent her from assimilating others by locking her up in the basement with disastrous results.
Review: Director Peter Jackson has managed what is probably the pinnacle of "splatstick" film-making, a vivid, no-holds-barred combination of silent-era slapstick comedy and splatter horror. Influenced by previous genre films such as The Night of the Living Dead series and Evil Dead 2, Dead Alive one-ups them all in its excesses and in its reach of gore-comedy. The film is not for the squeamish as the blood and guts literally fly but, thanks to some inventive but relatively crude special effects and the cartoonish style of the proceedings, what could have been stomach-churning manages to stay fascinatingly watchable. There are many memorable scenes here, including the middle-aged priest using his kung-fu skills to fight off some restless zombies while screaming "I kick ass for the Lord!", the zombie-baby in the park, and the climactic lawn-mower sequence. The constant sight gags, inventive special effects and clever use of camera angles makes Dead Alive an incredibly exploitive, but hilarious, horror spoof. A true cult classic. Note: make sure you see the unrated version that includes an extra 12 minutes of footage.
Horror: 8/10

Dead or Alive Final (Japan - 2002)
Starring: Riki Takeuchi, Sho Aikawa, Richard Chen 
Director: Takashi Miike
Plot: In a future world where reproduction is outlawed, a battle-android helps a small gang of rebels rise up against the totalitarian regime.
Review: Let it be said right off the bat: Dead or Alive: Final is a cheaply-made quickie that's shockingly banal. Taking the theme of Blade Runner (replicants wanting to be human) and The Handmaid's Tale (a world where birthing is illegal) without any of the context, throwing in an embarrassingly lazy screenplay, and adding some bad computer effects, one would be hard-pressed to call it either a sci-fi film or an action flick. A pinch of uninteresting fight scenes does nothing to alleviate the tired script and slow-goings-on of the film, which seems to have been made for midnight-TV audiences. It's a surprisingly boring and half-assed effort from director Miike (Audition, Visitor Q) a prolific master of the strange and unexpected. Gone is the excitement of the hyper-kinetic over-the-top original chapter, or even the stylish fantasy of the second. It creaks along with no narrative goal, no story resolution, and perhaps worse for a Miike film, no artistry or energy whatsoever. And the "memorable" 30-second ending is just plain idiotic. The two leads, the only real link between each installment of the series, have little to do and even less interest to do it. DOA: Final is simply trash, a slap in the face for Miike fans, and a waste of celluloid.
Entertainment: 2/10

Dead End (2003)
Starring: Ray Wise, Lin Shaye
Directors: Fabrice Canepa, Jean-Baptiste Andrea
Plot: After taking a shortcut to get to a family Christmas dinner, the members of a dysfunctional family start dying one by one as they try to find their way past a deserted, never-ending road.
Review: For a low-budget horror flick, Dead End delivers on its modest ambitions. As such, there's the tension of the never-ending road, the mystery of the Lady in White and some brief gruesome scenes, though most of the gore is off camera. The real focus, and most of the dark humor, rests on the inevitable destruction of the family unit, a theme that was popular in 70's horror genre. Most of the action might revolve around a country road, a jeep and its unsympathetic passengers but first-time directors Canepa and Andrea have created a briskly paced tale out of a Twilight Zone-type tale. If the rest of the cast seems a bit off, mainstay character actor Wise is perfectly at ease in this kind of film and really holds the film together. Sure, the linear, predictable climax ends up being a retread of the much-used twist of Jacob's Ladder, and the script thinks itself perhaps more clever than it really is, but at a brief 80 minutes Dead End never overstays its welcome. 
Horror: 4/10

Dead Men Don't Wear Plaid (1982)
Starring: Steve Martin, Rachel Ward, Carl Reiner
Director: Carl Reiner
Plot: An inept, fast-talking private eye in 1940's Los Angeles comes to the aid of, and eventually falls for, a wealthy woman who hires him to find her father.
Review: A silly, half-hearted attempt at spoofing the film noir genre, Dead Men Don't Wear Plaid is a typical, rather bland Carl Reiner comedy. Steve Martin, as the wise-cracking gumshoe, has had better roles and, as co-screenwriter, could have done better to create a more engaging story. Rachel Ward, however, is stunning as the "straight man" to Martin's antics. The comedy is sometimes amusing, but by trying to milk this one-joke movie for cheap laughs instead of the real comic potential of the premise it never finds its funny streak. What the movie is, though, is clever - clever in the way the script suits various moments from other "real" Hollywood film noir films of the '40s and '50s, and in the way Martin interacts with some famous actors by the inter-cutting of clips, including scenes with Humphrey Bogart, Cary Grant, Bette Davis, etc. It's also clever in its dialogue, and the way it recreates the cinematic feel and scenes of some classic films of the era. Unfortunately, the film itself, and the characters in it, are nowhere near as interesting as the sum of its parts. In the end, Dead Men Don't wear Plaid is a mildly entertaining pastiche, and an amusing parody / homage for film noir buffs, but only a so-so comedy.
Comedy: 5/10

The Dead Zone (1983)
Starring: Christopher Walken, Brooke Adams, Tom Skerritt
Director: David Cronenberg
Plot: After waking up from a 5-year coma, an embittered high-school teacher discovers he has the power to see the future fate of anybody he touches through disturbing visions.
Review: Up-and-coming director Cronenberg was perhaps a great choice for adapting Stephen King's best-seller The Dead Zone and the film is indeed one of the better moves from King book to screen. However the feature is surprisingly tame and restrained for the man who had made a name for himself with disturbing low-budget offerings such as Rabid and Scanners, the director's strong visual style and shocking imagery being rarely in evidence. In fact, his work here is rather impersonal and workmanlike. Yet his experience in the medium still shines through, and he does allow the story and its main characters to take center stage. The artistic sense during the visions, however, do make up for some of the cooler bits. Of course, much of the original novel has been cut down and other parts beefed up, but though some might argue that the essence of the work is no longer there, the film still works rather well as a low-key supernatural thriller with its share of light drama. More than anything, however, it's Walken's eerie, sympathetic performance as the teacher cursed with visions he cannot control that really makes this a keeper. The rest of the cast is fine, and includes an over-the-top turn by Sheen as the maniacal senatorial candidate. One of the better King adaptations, The Dead Zone is an efficient piece of work, and one of the better genre films of the 80's.
Entertainment / Horror: 7/10

Death Trance (Japan - 2005)
Starring: Tak Sakaguchi, Kentaro Seagal, Honoka Asada
Director: Yuji Shimomura
Plot: A young monk embarks on a quest to stop a battle-crazed martial-arts master dragging a stolen mystical coffin from unleashing the Goddess of Destruction upon the Earth.
Review: Death Trance wants to repeat the successful formula of its spiritual predecessor, the low-budget cult flick Versus, and comparisons with it will be inevitable. But while the latter had fight scenes with definite energy and an infectious eagerness to please, this latest entry fails in the most important part: the action. With an art direction, plot and camera work heavily inspired by Japanese Manga, this contraption unabashedly jumps from one scene to the next without much interest in its characters or story. Still, though the plot is paper-thin there are some good ideas peppered throughout, like the use of guns (and - yes - even a bazooka) in a fantasy setting, a beautifully set-up final showdown with the Goddess where blood flows like literal rose petals, and the cool final scene of angels falling from the sky. The real reason for the film's existence however is supposed to be the no-holds barred action and in that department, unfortunately, it just isn't up to par - though there are a half-dozen set pieces here, the choreography is lack-luster at best, and the fighting simply too repetitive or not energetic enough to keep our attention. No matter how much tongue-in-cheek the film is (and at least it's abundantly clear it doesn't take itself seriously) there's only so much senseless pummeling of interminable faceless figures one can take. Perhaps the fault lies in what some define as "fun", or in the attempts at clever filmmaking that simply fall flat, and the entire affair by virgin director Shimomura can't help but shows a very amateurish gait. The cast led by a stiff, unappealing Sakaguchi as the disinterested destroyer barely makes an impression, but then they aren't really here to emote. For action aficionados, there are worse things you can do than catch Death Trance as it does include some interesting bits that might keep fans of Japanese martial flicks entertained, but even at a short 90 minutes, it seems to go on too long.
Entertainment: 5/10

Deathwatch (2002)
Starring: Jamie Bell, Hugo Speer, Andy Serkis
Director: Michael Bassett
Plot: Caught behind enemy lines at the height of World War 1, a small company of British soldiers seek refuge in a German trench only to discover that something unholy is turning them against each other.
Review: A joke, perhaps, on the line that "War is Hell", Deathwatch mixes the elements of a war flick with those of a haunted house (or in this case a haunted trench) to interesting effect. Using the background of The Great War gives the film some added interest, as cinematic views of the conflict are now rare. The themes required of any war drama all make an appearance, from the abuse of power, the savagery and madness of war, to the instinct for survival. The cast, based around the young Bell (who was acclaimed for his role in Billy Elliott), is solid and convincing, and the team member dynamics and interpersonal confrontations are well presented, if rather generic. With a combination of dark, damp, muddy trenches, shadowy cinematography and ominous music, writer / director Bassett creates a strong sense of dread and mystery. If he can't quite keep the tension revved up throughout, the film remains an effective low budget exercise in atmospheric dread, ably creating a strong sense of paranoia and fear. Yet there's little payoff to the tension, and though limiting the use of usual horror tropes may be a good thing, it's also backfired somewhat. The obvious parallels between the genres are there - the gore, the psychological breakdown, the paranoia, etc - it's just that the addition of the horror elements to the story aren't as well presented or convincing for an entry in the genre. Still, though it ends up getting a bit lost along the way between its commentary on War and its use of the horror tropes, the film itself is well executed and for that alone Deathwatch is worth a look.
Horror / Drama: 5/10

Deep Blue Sea (1999)
Starring: Thomas Jane, Saffron Burrows, Samuel L. Jackson
Director: Renny Harlin
Plot: Three huge genetically enhanced sharks create havoc in the underwater research laboratory where they were confined, and start hunting the humans inhabiting it.
Review: My main problem with Deep Blue Sea is that it tries way too hard to create suspense by exaggerating every possible predicament, and by using unbelievable coincidences to the detriment of the main characters. Director Harlin (veteran of Die Hard 2 and Cliffhanger) knows how to keep the pace going full throttle, though, and the film is quite entertaining, if only for some great shark effects, good scenes of destruction, and (my favorite part) the indiscriminate killing of most of its protagonists (in full view, no less). In other words, mindless big-budget B-movie fun.
Action: 7/10
Entertainment: 5/10

The Defender (Bodyguard from Beijing) (Hong Kong - 1994)
Starring: Jet Li, Christy Chung, Kent Cheng
Director: Corey Yuen
Plot: A rich businessman hires a by-the-book Chinese police officer to protect his beautiful, spoiled girlfriend until she can testify against some notorious thugs.
Review: Heavily influenced by (read "an outright copy of") Kevin Costner's The Bodyguard, The Defender (Bodyguard from Beijing in its original title) is a pure Jet Li vehicle that gives the American version a Hong Kong twist, providing frenetic action sequences and dynamic camera work in-between all the usual run-time filler shenanigans. Though the plot feels tired, the pacing is solid and action director Yuen (The Transporter) is at his best staging the imagined, well-choreographed fighting sequences, of which the film boasts a few shining examples such as the opening staged training exercise to a spectacular shootout in a mall. But forget finding any romantic tension here despite the repeated attempts of the story - it's clearly not Yuen or leading man Li's forte. In fact, the stone-faced Li's special agent isn't even an interesting character, but what made him a star in the first place are his martial skills and they're in abundance here. The rest of the cast is more in place for the required filler moments, either comic relief (the bungling HK inspectors), bubble-gum romanticism (the pretty Chung) or dramatic purposes (why do these movies always have to have a dumb kid?). Thankfully the blend of dynamic action, goofy humor and easy melodrama all make for a fun concoction from HK's golden 90's era. Though not a classic by any means, The Defender is a welcome addition to any Jet Li library and a tasty treat for action aficionados.
Entertainment: 7/10

De-Lovely (2004)
Starring: Kevin Kline, Ashley Judd, Jonathan Pryce
Director: Irwin Winkler
Plot: A biography of popular songwriter Cole Porter as he reviews a dream stage play of his life and musical career, from his introduction to the rich divorcee who became his wife to his last days. 
Review: Though it portends to be a biopic retelling of the life and music of popular 30's and 40's songwriter Cole Porter, De-Lovely is really a thinly disguised homage to his legacy and his music more than the man. Director Winkler (My Life as a House) uses Porter's greatest hits to provide episodic snapshots of his life, creating a rather formulaic but nonetheless engaging biography told as a stage musical. In fact, much of the dance choreography is clearly recreated for the stage (much like their original Broadway venues), and these numbers are engaging and fun. The producers have also managed to get an impressive variety of modern-day singers to perform some of his more popular tunes, like Alanis Morrissette, Elvis Costello, Diana Krall and even Natalie Cole. There isn't much drama to be had here, and so the film focuses on the marriage difficulties between Porter and wife Linda Lee with which he shared a platonic relationship while he seeked male companionship. Not quite gripping stuff, but then the memorable songs are the real treat here, including "Night and Day", "Let's Misbehave" and "Be A Clown". The film does much to show off the glamorous lifestyle he was accustomed to, made up of grand parties around the world, and the lavish art direction does a fine job. Forget about the supporting cast and even Judd who comes out just fine as the loving wife, as this is really a showcase for a sophisticated, charming Kline who sings, dances, and tries hard to get the man's mannerisms just right. As a biography, De-Lovely misses the mark by giving only a shallow representation of its subject, but as a musical it really sings and, if nothing else, will have audiences looking for more of Porter's work.
Drama / Entertainment: 6/10

Demolition Man (1993)
Starring: Sylvester Stallone, Wesley Snipes, Sandra Bullock
Director: Marco Brambilla
Plot: A cop is thawed out of suspended animation to stop his nemesis, a violent super-criminal, now loose in a future Los Angeles that has been turned into a non-violent society ill-equipped to stop him.
Review: Mixing humor and mayhem, Demolition Man is another high-concept action vehicle that manages to work well using its main actor's strengths and decided weaknesses. The action scenes full of gunfights, car chases, and myriad explosions are intense and violent, if incredibly bloodless, and are well executed if not particularly original. What gives the film its saving grace is its decidedly comic overtones, which adds a much needed fresh take on the typical Stallone action flick. The future setting is quite ridiculous and unbelievable, yet it allows for many hilarious moments, and some clever bits such as the automated fines that stack up due to the hero's use of profanity, as well as the usual fish-out-of-water routines. Stallone knows his acting limitations and takes up the role of the muscle-bound cop without taking anything too seriously while Snipes attacks his role with joyous glee and is appropriately over the top as the super-human psychotic killer. Bullock, still relatively new to the screen then, is well cast and displays the needed energy as the sidekick and love interest. Denis Leary as the revolutionary leader, however, doesn't add anything to the plot except some heavy-handed, cliche, and totally unnecessary social-political commentary. Sure, Demolition Man is a rather low-brow action / comedy, but the resulting mix is still quite entertaining for genre fans ready for something different.
Entertainment: 7/10

The Departed (2006)
Starring: Leonardo DiCaprio, Matt Damon, Jack Nicholson
Director: Martin Scorsese
Plot: Violence follows when an undercover cop high in Boston's Irish mafia and a fast-rising police officer who is actually a criminal mole realize each other's existence and struggle to reveal each other's identity before their cover is blown.
Review: An excellent remake of the popular Hong Kong thriller Infernal Affairs retooled for an "Irish cop" setting, The Departed is easily one of the most rewarding crime dramas in years. From the get go, as the characters are introduced with the opening notes of a Rolling Stones tune, you know to make yourself comfortable in the hands of a master craftsman. Director Scorsese has a lot of this sort of movies under his belt - the classic GoodFellas, Mean Streets, and more - but there's never been one quite as entertaining as this one. Much of the essence (and key moments) of the original's clever cat-and-mouse game, one where loyalties are put into question and moral certainties blur, is still very much in evidence but Scorsese has made the film his own adding his trademark style and enhancing the themes of sacrifice, betrayal, and self-identity. An added romantic triangle doesn't quite work as well, but that's a minor quibble. As expected, the film is very violent, indeed almost sadistic in its bloodshed - from gunfights, beatings, and general pummelings - but there's a lot of black humor to level it out. The tale also captures well the psychological pressures and constant peril faced by both men to maintain their cover, keeping the tension cranked up until the bloody ending. Throughout, the narrative hits with machine-gun efficiency thanks to some tight editing and a smart, ruthless screenplay filled with razor-sharp, colorful dialogue - even at over two hours, there's nary a dull moment to be had. But the whole affair would not be half as interesting if it weren't for the "wow" cast, beginning with Nicholson; he creates a memorably sleazy character with a largely improvised role as the virtual crime emperor of Boston, hamming it up, playing it over the top, and generally giving in to the sort of role he's been stereotyped in. More impressive is DiCaprio who has a seething rage about him that is just amazing and, though perhaps less convincing, Damon makes a great nemesis as the smug, cool bad cop trying to go straight. Vera Farmiga as the love interest of both parties seems too ephemeral to be believable, but the rest of the cast is a nice surprise from Alec Baldwin, Martin Sheen and especially Mark Wahlberg as a high-strung asshole-cop who appears to have great pleasure verbally blasting his colleagues. Filled with intensity, bloodshed, and tortuous situations, The Departed is simply a class act that's a joy from start to finish.
Entertainment: 8/10

Desperado (1995)
Starring: Antonio Banderas, Salma Hayek, Steve Buscemi
Director: Robert Rodriguez
Plot: A notorious gun-toting ex-guitarist arrives in a small Mexican town seeking revenge for the man he holds responsible for the murder of his lover.
Review: A big-budget Hollywood remake-slash-sequel of the original low-budget Mexican action flick El Mariachi, Desperado once again blends a tale of guns and guitar-playing - it seems an odd mix, but it works. For one, it's got one of the best opening scenes of the past decade, thanks to Buscemi's excitable, earnest on-screen story-telling at a seedy bar. The film never quite lives up to that beginning, but there's lots of dynamite stuff to enjoy. Taking his original work into the big leagues, director Rodriguez (who would go on to greater things with continued vigor with Spy Kids and the startling Sin City) wrote, directed, produced and edited the film allowing his vision to come untarnished to the screen. As such, it all zips by with perfect tempo, through the rougher patches and the obvious silliness. And it helps to have two such leads to work with: Banderas is great, all intensity and controlled anger and makes a cool-looking action hero, but the real note is the first American appearance by screen siren Hayek, who makes a real splash here. True, the chemistry between Hayek and Banderas might be tepid and the characters are nothing but molded caricatures, but what the movie lacks in romantic flair it more than makes up for in gutsy, wildly entertaining action bits. And that's what this is really all about: It's bloody, it's violent, and it's an obvious effort from a filmmaker who loves action movies; in fact, the gunplay sequences are straight out of John Woo's bullet ballets such as A Better Tomorrow or The Killer, only pushed to ridiculous extremes for comic effect. It's also an homage to the tough-guy Westerns of the '60s, with its small-town Mexican locale, sun-bleached streets, evil-looking banditos, and sleazy "saloons" - and, of course, some Mexican stand-offs. The tale is at its best when it stays within the genre confines, but the filmmaker can't help but try his hand at a typically explosive finale (with a supporting role by the original actor toting dual guitar-case-machine-guns). Desperado may not be as accomplished story-wise or as a whole compared to his first indie effort or his future endeavors, but for a young director flexing his new-found muscle, it's a promising big-league debut that's both cinematically interesting and just plain fun.
Entertainment: 7/10

Deterrence (2000)
Starring: Kevin Pollak, Timothy Hutton, Sean Astin
Director: Rod Lurie
Plot: An appointed President faces a growing crisis when, stuck in a Colorado diner during a raging snowstorm, he engages in a battle of wills over the phone lines to defuse a potential nuclear confrontation in the Middle-East.
Review: First-time writer-director Lurie was probably trying to present a modern version of Fail-Safe with his low-budget thriller Deterrence, but falls far short. The story is an interesting one, and the first twenty minutes piles on a series of promising sub-plots and moral dilemmas, from election politics to the ethics of nuclear use. Limited production values means that the scenario has to be engaging, the character interaction vivid and / or the issues brought to life. Unfortunately the script seems to aim more for some low-key tension than an exploration of ideas, and by avoiding or simply glancing over these issues it just feels shallow, unpolished and simplistic. The cast is fair, but their acting, and the fact that the film is confined to a simple, single set, makes the whole proceedings appear too theatrical. The use of stock news footage only acerbates the fact and doesn't help us find that suspension of disbelief the story needs. Worse, the twist ending, though admittedly set-up mid-way through, makes everything that has passed before it a sham. Deterrence is at its best when it sticks to the game of diplomatic cat and mouse, but in the end it's only a minor dramatic effort.
Drama / Suspense: 4/10

Devdas (India - 2002)
Starring: Shah Rukh Khan, Aishwarya Rai, Madhuri Dixit
Director: Sanjay Leela Bhansali 
Plot: In the early 1900's Calcutta, two childhood sweethearts are torn apart because of their family's class differences, leading one to an unhappy arranged marriage to a rich, older widower and the other to find solace in alcohol.
Review: In many ways Devdas is the ultimate Bollywood picture, raising the stakes for romantic mush in a genre that is rife with such excesses. It's a romantic epic with large, lively choreographed dancing numbers, enchanting music, where emotions such as love, joy, sadness are sung, not talked about, an extravagant melodrama encompassed in classic musical surroundings. This fourth adaptation of the popular and influential Indian novel is another terribly melodramatic romance about an impossible love, a story of pride and despair that Bollywood does so well. Overly sentimental, gushing in its emotional melodramatic excess, subtlety goes out the window from the get-go, yet only the heartless can fail to be dragged into the story. Forget logic, too, the operatic storyline is more akin to a fairy-tale where the emotions are greater than life, full of impossible romance and pathos - that's what counts here. There's also an exploration of one of India's favorite themes, that of overcoming (or not) the country's social restrictions, its barriers of class and wealth. At three hours, though (a length typical for Bollywood films) it does get a little overdrawn, and the pace is sometimes somewhat uneven. Still, Bhansali is a capable director and, despite its faults, the film is technically and cinematographically impeccable. The fact that this is the most expensive Indian film ever made is immediately obvious: the film is awash in luxury, from the lavish sets, to the detailed glasswork and rich tapestries that enliven the backgrounds to the colorful, gloriously detailed costumes everything is visually grand and impressively caught on film. Khan occasionally hams up the drunken scenes alcohol ultimately consumes his character, but he is always a charming performer. It's the two female leads that really shine, however: The graceful Rai (a previous Miss World) is splendid while Dixit, another familiar face, also does a fine turn. The tragic love story may not be to every Western audience's taste, but the splendid visual quality will impress anyone and it always manages to hold our intention thanks to the charming leads and its lyrical narrative.
Entertainment / Drama: 7/10

Devil in a Blue Dress (1995)
Starring: Denzel Washington, Tom Sizemore, Jennifer Beals
Director: Carl Franklin
Plot: Out of work, a lower-class African-American accepts a job to find a missing woman but soon finds himself caught up in deadly political intrigue in 1940's Los Angeles.
Review: Devil in a Blue Dress, based on the Walter Mosley novel, sets its tone early on as an atmospheric and moody modern film noir, one that owes much to the early '40s genre and its Chandler-esque heroes. The story is typical of the genre and includes all the necessary ingredients - femme fatale, dirty secrets, political intrigue, double-crosses, and a bevy of dangerous characters. Where the film deviates from the standard, though, is in its depiction of black life in post-war L.A., a continuing social commentary that sets the mood of the film and soon becomes more than just a background issue, but the real driving force of the narrative. The naive hero as well, in a fine understated performance by Washington, is very different from the standard white private eye, as he is forced to move among different social circles, mistrusted, beaten by cops, learning the secrets of surviving as a private investigator by trial and error. The rest of the cast of characters are all up to type, especially the comically violent Don Cheadle as his temporary side-kick. In the end, the twists and turns of the plot, as well as its resolution, aren't anything special but it's the way Devil in a Blue Dress progresses and presents us this fictionalized, noir world filled with interesting characters that makes it worthwhile. 
Entertainment: 7/10

The Devil's Advocate (1997)
Starring: Keanu Reeves, Al Pacino, Charlize Theron
Director: Taylor Hackford
Plot: A hotshot young criminal lawyer is invited to work for a prestigious New York firm, but as he is seduced by the money, fame and power he slowly realizes that his boss is Lucifer himself.
Review: A mix of The Firm and Angel Heart that could have coasted as an easy morality play ("all lawyers work for the Devil"), The Devil's Advocate proves to be far more clever and provides more efficient chills than one might expect. The plot itself doesn't hold any surprises, and the climactic revelation is predictable, but the script milks it for all its worth, grabbing our attention with some impassioned theological monologues, downright creepy moments, and its fair share of sinful temptations - Evil has never been this tempting! Sure the rants on God, Humanity and free will aren't meant to be as convincing as they are amusing, and the commentary on corporate villainy and legal abuse is rather shallow, but what a show. Director Hackford (An Officer and a Gentleman, Ray) really does a rousing job establishing the horrific elements of the material and imbuing the narrative with constant menace while keeping the special effects to a minimum. As Satan himself, Pacino is the true attraction, playing the part with complete abandon and relishing it - it's a role he was born to play. Reeves gives in his best performance to date as the crack attorney. The real surprise is then-unknown Theron who is simply radiant as his wife, and - in a situations that reminds one of Rosemary's Baby - is quite effective in portraying the paranoia over her new surroundings. The Devil's Advocate is one of those films that really gets the commercial aspects just right: slick, entertaining, and smart - and Pacino is worth the price of admission alone.
Entertainment: 8/10

The Devil's Backbone (Spain - 2001)
Starring: Marisa Paredes, Eduardo Noriega, Federico Luppi
Director: Guillermo Del Toro
Plot: During the Spanish Civil War a young boy is forced into an orphanage with other refugees his age and soon discovers that on top of the regular bullying, there's both a hidden treaure and a child ghost to contend with.
Review: Part period film, part coming-of-age drama, part mystery, part ghost story, The Devil's Backbone is a low key supernatural film that's far more a piece of Art than it is a mainstream horror flick - and at times, that's not a bad thing. Thrill-seekers looking for gory fun from the director of Blade 2 will probably be disappointed by the deliberate pacing and low body count as well as the slow, gradual mounting of tension. From the unexploded bomb in the courtyard, to a steamy love triangle, to the hierarchical life of an orphanage, to the indirect presentation of the pain created by the Spanish Civil War, there are quite a few interesting things going on. The payoff is rather predictable, as is most of the story, and even the interaction and growing bond between the orphans feels terribly familiar. But if it ends up a tad conventional it's nonetheless an evocative and interesting experience, the locale and time period giving the events a definite exotic flavor. With the unlikely horror films Cronos and Mimic under his belt, director del Toro proved that he could create an engaging concoction, and he does so again here. Working on an indie-level budget, there's more attention to characters and situations than effects or downright scares. In fact, this is all about atmosphere. The beautiful, yellow-tinged cinematography captures the heat and sun-drenched courtyard and provides a fairy-tale like quality to the film. There's also an indisputable European flair to be had in the storytelling, something that adds to the film's charms, especially to North American audiences. For cinema buffs ready for something different, and genre fans willing to take a chance, The Devil's Backbone is sure to please. It may not be perfect, but it's definitely different from recent mainstream hokum.
Entertainment / Drama: 6/10

Dial M for Murder (1954)
Starring: Ray Milland, Grace Kelly
Director: Alfred Hitchcock
Plot: Having prepared the perfect murder, a man decides to hire an old college acquaintance to kill his rich wife, but soon finds himself desperately improvising when things don't go quite as planned.
Review: A great example of Hitchcock's masterful hand at film-making, full of nerve-wracking scenes, quick wit, intelligent scripting and dialogue, and good acting. In fact, you may find yourself at odds, rooting for both the murder and the victim, as the lies and intrigue start piling up! The ending is a bit anti-climactic in comparison to Hitchcock's masterpieces (Vertigo, North by Northwest), but Dial M for Murder is an entertaining by-the-numbers suspense film with a very British flair.
Entertainment: 7/10

Die Another Day (2002)
Starring: Pierce Brosnan, Halle Berry, Toby Stephens
Director: Lee Tamahori
Plot: With the help of a sexy American agent, James Bond follows the trail of a rogue North Korean officer leading him to a dangerous diamond magnate bent on ultimate power.
Review: Die Another Day, the 40th anniversary installment to the 007 franchise, tries to instill some fresh ideas to the clichéd Bond formula, and at times recalls the best of the Connery Bond adventures while adding its own modern-day style of action. The classic "Bond" elements are still here, from the beautiful women, the dastardly (if forgettable) villains, the exotic locales (Cuba, Korea, Iceland) and the gadgets are once again outlandish (an invisible car!). The filmmakers have also added a little extra for veteran Bond fans, too, peppering the films with winks to the past 19 films and 40 years of Bond history. The story starts off dark and tense, as Bond takes on an edge we haven't seen since the early Connery days, especially as he's thrown into a dungeon and tortured, coming out as a broken, vengeful man (truly some un-Bond like stuff!). Unfortunately, the fine start to the film soon degrades to camp and contrived silliness as soon as Jinx arrives on scene, which starts some sexual innuendo and terrible one-liners that will make you cringe. The second half, when the movie settles into the Iceland cold, is more an over-the-top, cartoonish action ride catering to audiences of xXx-style pyrotechnics (including at least one terrible CGI sequence) than it is the classy Bond. Another irking point is that the opening theme is grating and the Madonna cameo is just dreadful. There are some highlights, however: the opening action sequence, a bullet-ridden chase on board military-style hovercrafts over a mine field, is quite exciting; a terrific, intense sword fight punctuates the enimosity between the two opponents well; and a battle using souped-up, weapon-laden vehicles is quite fun. Director Tamahori (best known for the indie drama Once Were Warriors) also manages to infuse the narrative with some infectious energy right from the start and does a good job overall. Brosnan once again does a fine performance, fitting comfortably in the 007 role. Berry, who might have won an Oscar and certainly looks the part (her much-ballyhooed Ursula Andress-coming-out-of-the-ocean homage to Dr. No is fine), but she isn't either convincing or very good here. Though the schizophrenic script gives an inconsistent mix of style and tone, Die Another Day is a successful venture in the world of the world's greatest secret agent, and for the most part a fine action / adventure flick.
Entertainment: 7/10

Die Hard (1988)
Starring: Bruce Willis, Alan Rickman, Bonnie Bedelia
Director: John McTiernan
Plot: In the wrong place at the wrong time, a lone New York cop must stop terrorists holding hostages in an L.A. office building from stealing millions in bearer bonds.
Review: Die Hard ushered in a new breed of action films one that starts with a simple premise and proceeds to offer up slick, exciting entertainment. Bruce Willis, in his first action role, is absolutely splendid and convincing as the wise-cracking, sympathetic cop trying to make the best of a bad situation. The bad guys are a bit incongruous, heavily-accented, buff, long-haired "terrorists" but they are cautious, professional, and more than just canon-fodder. But one of the best elements, one that the genre usually lacks, is a great villain to contrast the hero with and here villainy is personified by Rickman, a nemesis who's smart, cunning, cultured, and deadly. Director McTiernan is a veteran of the genre (Predator, The Hunt for Red October) and helped by ace cinematographer Jan De Bont (who went on to direct another great action film, Speed), he grabs our attention from the get go with some great visuals, fine directing and delivers a non-stop roller-coaster thrill ride. It also helps that the film has some very impressive pyrotechnics as well and single-handedly raised the bar for grandiose cinematic explosions and urban demolition. The crowning achievement of the film, however, is its wonderful script, one that is filled with interesting twists and turns, solid suspense, well-plotted action sequences, great character interactions and still manages to keep the usual action clichés to a minimum. Die Hard is what action movies are all about - a good cast of characters, a strong story, well-shot action sequences, and a sharp script full of interesting plot twists and good dialogue. One of the best action films to come out of Hollywood, period.
Action / Entertainment: 9/10

Die Hard 2: Die Harder (1990)
Starring: Bruce Willis, Bonnie Bedelia
Director: Renny Harlin
Plot: An off-duty cop is forced to battle a group of cold-blooded black-op mercenaries intent on freeing a captured South American dictator by seizing control of Dulles Airport.
Review: Die Hard 2 is typical of action sequels, boasting greater danger, bigger explosions, a larger body count and a more ambitious setting. Though the all-important action scenes including gun battles, spectacular explosions (including two commercial planes being consumed in giant fireballs) are still well done and the proceedings are great fun, the story doesn't quite unfold as well as the first film, and much of the narration just seems muddled. Willis returns in his best hero role with as many quips as ever, but this time around his dialogue seems a tad too self-conscious. The terrorists, though just as professional, well equipped and vicious as before, have very little personality, something that added much to the interaction between Rickman's villain and Willis in the first film. Thankfully, the film is still well constructed and Harlin's direction assured and fast-paced enough that we can often overlook some of the weaker plot points. It may not be as suspenseful as the previous one, but the mounting tension and constant action sequences are well orchestrated. Though not quite up to the standards of the original Die Hard, Die Hard 2 knows what its audience expects and delivers it quite efficiently, standing head and shoulders above the standard summer blockbuster action flick.
Entertainment: 7/10

Die Hard With a Vengeance (1995)
Starring: Bruce Willis, Samuel L. Jackson, Jeremy Irons
Director: John McTiernan
Plot: Wise-cracking super cop John McClane is back, this time on the track of a terrorist planting bombs in New York as a cover for a gold heist of the Federal Reserve.
Review: Die Hard With a Vengeance (Die Hard 3) changes the focus of the series from Christmas to Summer, expands the playing field to New York, and goes for the tried-and-true formula of the buddy movie. Thankfully, teaming Willis and Jackson actually works, and the chemistry and interaction between the characters is surprisingly fun to watch. Irons also makes a terrific megalomaniacal villain in the little time he has on screen. The first hour has some good chase sequences and some decent suspense, but also lacks consistent pacing and occasionally drags due to a large amount of exposition. Director McTiernan (Die Hard, The Hunt for Red October) knows how to deliver the goods for this type of movie, though, and the second hour makes up for the slow start in spades with enough gunplay, explosions, and stunts to fill three other summer films. The first-rate "action film" script moves along at a break-neck pace, with some good dialogue and the stalwart humor of the series still very much in evidence. True, the plot of Die Hard 3 is very similar to the first, with the same kind of villains and similar caper, but what it lacks in originality it makes up in thrills and fun. Fast-paced and consistently entertaining, Die Hard With a Vengeance is a great way to cap off the series.
Action / Entertainment: 8/10

 

Live Free or Die Hard (2007)
Starring: Bruce Willis, Justin Long, Timothy Olyphant
Director: Len Wiseman
Plot: As a criminal organization hacks its way into the country's mainframes and shuts down the US, a maverick cop takes matter into his own hands to stop them.
Review: The popular franchise lives again in Live Free or Die Hard, with the violence and explosions very much in evidence, though what made the original outing so brilliant (namely the plot, villain, suspense, believability factor and R-rating) is now left far behind. The benchmark for the Die Hard films are the wild stunts and impressive action work; dispensing with the usual set-up, the action gets going quickly with shoot-outs and situations that are for the most part well-staged and gripping (McClane taking out a helicopter with a cop car, or driving down an elevator shaft are highlights). Some of it may be too referential, perhaps, but the humorous banter is there as are the one-liners we've come to expect. At least for the first hour. When the evil plot gets into focus, the film takes a turn into 24 territory, with way too much uninteresting exposition that has the film screeching to a halt (a cameo by director Kevin Smith as a geeky super-hacker is utterly pointless). The Y2K-like doomsday plot is ridiculous no matter the mumbo-jumbo, and so predictable that one can hardly find the sense of urgency - losing the time and location restriction of the other films kills all the tension. When it starts up again, the film gets lost in CGI-enhanced mayhem in the final act as McClane goes up against an F-35 fighter plane (echoes of True Lies, here) - it's fun, but it ain't Die Hard. Director Wiseman (best known for the brooding, stylish Underworld franchise) is no McTiernan but he's not the one to blame - that would be the script; he does well with the material, capturing the mood, set-pieces and mayhem - too bad that the palette is so visually bland, though. As for our star, yes, Willis is getting a little old and it's been 20 years since he first stepped into the shoes of the character, but he's still in good shape, hasn't lost any of his edge, grit or sly smile, and still has the hero thing down pat. Giving him a sidekick is adding dead weight, but for fast help on the computer jargon Long isn't too bad. Not so for the slick Olyphant, who just doesn't cut it as a villain mastermind. Thankfully, one of the henchmen is French action star Cyril Raffaelli (of District 13 fame) whose acrobatic skills verge on the incredible. If the film doesn't sustain the kinetic energy required to really tag the name of Die Hard to it, it is for the most part a slick and effective throwback to the 80's action flick - and that's a good thing.
Entertainment: 7/10

Dil Se (From the Heart) (India - 1998)
Starring: Shahrukh Khan, Manisha Koirala, Preity Zinta
Director: Mani Ratnam 
Plot: While on assignment, a young journalist falls in love with a mysterious woman and discovers she is part of a terrorist cell dead-set on assassinating the president.
Review: For most North American viewers not used to Indian films, Dil Se will be a pleasant surprise and an exotic experience. Original, imaginative and beautiful to look at, the film sometimes verges on the artsy but without ever falling to the pretentious. More serious (dramatically speaking) than the usual mainstream production, it still maintains the necessary Bollywood ingredients, namely an engaging story and characters, song-and-dance routines, and a dose of humor. The real highlights are a duo of superb musical numbers featuring some extremely hummable songs presented in slick, classic MTV-video style with an Indian twist: the first (Chal Chaiya Chaiya) sees colorful dancers gyrating on top of a moving train, and another (the title track) is one long, imaginative dream-like sequence. Thanks to producer Kapur's influence, perhaps (a man best known to the West as the director of Elizabeth), the cinematography (capturing both the character's intensity and the country's incredible vistas), fabulous dancing sequences and general aspect of the film look very refined and slickly made. The two leads, and Khan in particular, are quite sympathetic - in fact the whole cast is quite good. Its only fault, unfortunately, is the script: though it is engaging and interesting enough, we never have a real feel for the characters and their relationship, and what could have been an intense political commentary gets drowned out in sketchy melodrama. The film moves away from the love story to one of suspense towards the end, but the last half hour, which ups the ante with crude, violent fist fights and a surprisingly downbeat ending, feels completely at odds with the rest of the film. Sadly, Dil Se wasn't a hit with audiences seeking pure escapism, but despite its failings and long running time this is a beautifully made, at times even mesmerizing, feature.
Entertainment: 7/10

Dinosaur (2000)
Starring: D.B. Sweeney, Ossie Davis
Directors: Eric Leighton, Ralph Zondag
Plot: An orphaned Iguanodon is raised by lemurs in a secluded island. After a disaster strikes the land, he joins a convoy of dinosaurs trying to flee the devastation and find new breeding grounds.
Review: Dinosaur brings another family animated adventure from Walt Disney, though some scenes may be a bit too violent for younger kids. The computer-generated creature animation mixed in with real-life scenery is very impressive, and many of the long shots and vistas are really stunning and beautifully put together. The opening sequence is spell-binding and promises a terrific adventure. As is usual for a Disney film, though, the premise is an interesting one, but the plot and script lack any drama or originality in its execution. By trying to humanize these creatures and make them identifiable to kids, the characters become cartoons and not the dinosaurs that are promised from the title, the ones that would have carried the film. Mind you, this is not National Geographic, and real-life accuracy has never been a strong point of Disney pictures. As a technical feat, a visual feast, and an entertaining children's film that even adults can enjoy, Dinosaur still delivers and stays interesting enough throughout.
Entertainment: 6/10

The Dish (2001)
Starring: Sam Neill, Patrick Warburton, Kevin Harrington
Director: Rob Sitch
Plot: A four-man technical team in charge of a large radio telescope in a remote Australian town become a crucial part of the NASA's historical 1969 mission to the moon by relaying images of the event to the world.
Review: The Dish, based on real-life events, is a light sentimental drama, a look at "ordinary people in extraordinary situations", about some of the many unsung heroes of the Apollo 11 moon-landing. Like most of these light-hearted films taking a nostalgic look back at the 60s, events are seen through a pair of pink glasses revealing a time when things were more innocent and the adventure of space travel was still experienced with a keen sense of awe. The character dynamics are kept simple, but the entire cast, headed by an affable Neil, is definitely sympathetic. Apart from experiencing a slice of life in a small Australian town with its multiple little subplots, there isn't much going on here that's particularly noteworthy, and the little suspense available (in the shape of a power failure and high winds arriving at the worst times) seems rather diluted. Yet the story is interesting enough and, thanks to a some decent pacing and a great sense of setting and mood, quite engaging. What makes the film work so well is the combination of the everyday made special by the historical events taking place, and, cutting in actual footage of the week-long trip and, finally, of Man's first steps on the moon, the film carries us back to another time. The Dish doesn't have high ambitions, but with its laid back demeanor, good-natured humor and its definite Aussie charm it's a fine effort.
Drama: 7/10

Diva (France - 1982)
Starring: Wilhelminia Fernandez, Frederic Andrei, Richard Bohringer
Director: Jean-Jacques Beineix
Plot: A Frech mail courier makes an illicit concert tape of an American opera diva and soon becomes embroiled with a vicious criminal gang when it is mistaken for a recording impicating a high-ranking police officer.
Review: The first film from director Beinix (Betty Blue, Mortal Transfer), Diva is a clever, visually impressive thriller. It's a fun, sometimes campy, sometimes irreverent tongue-in-cheek film with underlying moments of garish, violent neo-noir at its core and a surreal atmosphere throughout. Though slow to start as the story elements and protagonists are put into place, the action eventually revs up as the search for the postman escalates, including one well-done, original motorcycle chase through the Paris Metro system and the climactic showdown. It's unfortunate that this part of the story relies on too many cases of incredible coincidence and last-minute saves. But more than its thriller genre conventions, the film allows for some romance as a touching, platonic relationship develops between the young man and his opera idol allowing for some of the film's most enchanting, quiet scenes. Most of the characters, especially the supporting ones such as Bohringer, are mostly caricatures though amusing ones and the acting is generally pretty bad, if not plain amateurish, but American star Fernandez as the title character has definite presence on screen. Still, it's the movie's stylish excesses, its impressive New Wave visuals that make the difference here, bringing a very modern cinematic look to the proceedings giving us an exotic look at Paris and a few of its more colorful denizens, as outsiders may imagine them to be. Even the music, with its opera theme and disco-esque tunes, is especially haunting and adds much to the film. Diva may be a bit slow-moving at times but its stylish production values, great cinematography and cult status make it worth the trip.
Entertainment: 7/10

Divided We Fall (Czech Republic - 2000)
Starring: Bolek Polivka, Csongor Kassai, Martin Huba
Director: Jan Hrebejk
Plot: During the German occupation of Czechoslovakia, a couple decide to hide an old acquaintance who escaped from the concentration camps in their pantry, but the frequent visits from a Nazi sympathizer makes their everyday lives quite strained.
Review: Divided We Fall, a portrait of Nazi collaboration and low-key resistance, is as complex in its sentiments as are its denizens. One is never sure if to take the engrossing story as a satire, a dark comedy, or a very human portrait of life during the occupation but there lies its strength. The film balances humor and drama, peppering the film with dire, emotional situations as well as bizarrely absurd scenes and events without teetering into either melodrama or downright silliness. In fact the desperation evident throughout the town, in the dire situations and in the real dramatic tension exhuding from every tightly drawn scene makes the lapses into humor all the more startling. The characters portrayed are all too human never defining any as heroes or villains, and everyone is painted in different shades of gray. These are normal people trying to live through abnormal times, balancing their conscience with their need for survival. Their actions are rarely predictable, and moments of courage or cowardice are not always done for the right reasons. Polikva as the reluctant hero is excellent, as is the rest of the cast, breathing depth into their characters without ever falling into the trap of stereotyping. An intelligent, harsh, and finally uplifiting film, Divided We Fall is a brilliantly conceived and executed moral examination of what normal people can do in abnormal situations.
Drama: 8/10

Dr. Dolittle (1998)
Starring: Eddie Murphy, Ossie Davis, Oliver Platt
Director: Betty Thomas
Plot: A workaholic doctor discovers he can communicate with all types of animals, an admission which throws him in hot water with his cabinet associates and risks breaking his family apart.
Review: Dr. Dolittle isn't a modern remake of the 1967 family musical but a low-brow comedy that only takes the most basic premise of the original. Essentially, this is another formulaic, mildly vulgar comedy of the type that now seems to be prevalently aimed at the young. As expected the animals, all of whom are opinionated and brash, really steal the show with the best scenes and the best lines delivered by an impressive array of recognizable voices including Chris Rock and Albert Brooks. The live-action and creature effects are well blended in as well, and make some of the scenes all the more amusing. Amongst these moments, the saccharine sentimentality and the constant beating of the "be yourself" moral, along with the lack of a decent plot and characters to care for, is almost acceptable. However, the comedy is very hit-or-miss and one's enjoyment is dependent on one's endurance / enjoyment of low-brow humor. Eddie Murphy actually shines here, though it's sometimes a struggle not to be outdone by the menagerie, and shows he can be a solid straight-man as well as a physical comedian. Dr. Dolittle ends up feeling like an overlong, forgettable comic skit, but it's one amusing enough to partake.
Comedy: 5/10

Dr. Dolittle 2 (2001)
Starring: Eddie Murphy, Kristen Wilson, Steve Zahn
Director: Steve Carr
Plot: A doctor who can talk to animals must help integrate a circus bear back into the wild to stop a lumber company from destroying a forest and forcing its animal inhabitants to relocate.
Review: Dr. Dolittle 2 keeps the same formula that made the original a box-office success. Unfortunately, much like the first Dr. Dolittle, motor-mouthed funny-man Murphy is constrained here, reduced once again to be the straight man to the animals' antics. The menagerie, brought to life with some excellent effects, delivers some funny lines and amusing moments, but way too many of the expected laughs come from four-year-old level toilet jokes while lots of bad, unoriginal puns litter the dialogue. The idea of the trained / city bear coping with the wild in anthropomorphic terms is amusing for the most part, but there doesn't seem to be enough for a whole film, so there are a number of ill-fitting and un-amusing story elements band-aided in to fill up the already short film. The relationship sub-plot with Dolittle and his eldest daughter, for one, is worse than filler, it's boring with a bad sense of sentimentality thrown in. Of course, this being aimed squarely at kids, the humans are universally shown as imbeciles and the loggers as simplistically evil men. Thankfully the brisk pacing at least ensures that audiences don't have time to think about how bad some of the scenes are, or sit through any long-in-the-tooth jokes for very long. Dr. Dolittle 2 is an able sequel with some good moments, but by limiting its appeal to young ones and to low-brow jokes it misses some truly funny opportunities.
Comedy: 5/10

Dr. Lamb (Hong Kong - 1992)
Starring: Simon Yam, Danny Lee
Director: Danny Lee
Plot: A reclusive taxi driver is arrested after getting some gruesome pictures developed. During his interrogation, the true story and details of his brutal killings come to light.
Review: A terrible film from start to finish. What is intended to be startling and shocking ends up being only a cheap gross-out interspersed with what amounts to slapstick comedy. Yam does a truly over-the-top performance as the deranged serial killer, and there is never a dull moment in the film, but the other performances are so bad, the cinematography so amateurish, and the whole script so disjointed, that, apart from the unintentionally funny moments, there is nothing to recommend this film. If you're interested in delving into the mind of a serial killer, try Henry: Portrait of a Serial Killer instead, and stay away from this one.
Drama: 2/10
Entertainment: 2/10

*Classic* Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb (1964)
Starring: Peter Sellers, George C. Scott, Sterling Hayden
Director: Stanley Kubrick
Plot: At the height of the Cold War, a fanatical U.S. general decides to send a fleet of bombers to nuke the Soviet Union seeking to catch them unawares while the President and his entourage in the War Room try frantically to stop him.
Review: A classic anti-war film that happens to be a clever, sardonic black comedy, Dr. Strangelove (Or: How I Learned to Stop Worrying and Love the Bomb) captures both the political and military insanity of the times - and makes it funny. Maverick producer / co-writer / director Kubrick (2001: A Space Odyssey) had achieved fame for another anti-war film Paths of Glory, and here he would sign his first outright comedy. Originally meant to be a serious thriller akin to Fail-Safe, Kubrick deemed the subject matter so grim that he deemed it couldn't be pulled off as anything but a satire and so turned what is a dark, scary cautionary tale of nuclear holocaust into an exercise in absurdity. Add to the thriller satire some now-classic lines ("You can't fight here! This is the War Room!"), strong sexual imagery (from two planes re-fueling in mid-air to Sterling Hayden's fluid-obsessed maverick general), its director's keen eye for the perfect shot, and what you get is a formula for success. There's a strong sense of suspense and tension during the aircraft scenes, and these are done with a look at verisimilitude - too bad they also lose the comic tempo of the film and seem rather long, the only real hiccup to the film. And even if the plane effects are rather primitive and the humor sometimes silly or very dry, it doesn't stop its ultimate message from coming through loud and clear. It's also a star showcase: Sellers in a triple role as the meek President, the steadfast RAF officer and the ex-Nazi scientist Dr. Strangelove astonishes with his gift for improvisation making for some hilarious monologs, especially during his hot-line conversations with the Russian premiere. The real winner, however, is Scott in a fabulous, frantic, and way over-the-top comic performance as the patriotic, juvenile general giving the President lame-brained warmongering advice. And who can forget character actor Slim Pickens, playing the gung-ho Texas pilot, immortalized in the phallic image of the cowboy captain riding an atomic bomb, rodeo-style, to its ultimate target ending in an orgasmic mushroom cloud. Though perhaps not as hilarious as it was upon its release on an unsuspecting public, Dr. Strangelove still amazes with its provocative take on a frightening subject.
Entertainment / Drama: 8/10

Dr. Wai in the Scripture With No Words (Hong Kong - 1996)
Starring: Jet Li, Rosamund Kwan, Takeshi Kaneshiro
Director: Ching Siu-Tung
Plot: With the help of his assistants, a modern-day pulp writer come to terms with his upcoming divorce by setting up his alter ego against an evil, fictionalized version of his wife.
Review: The plot tries to go for a constant '30s cliff-hanger type feel, obviously influenced by repeated viewing of the Indiana Jones series (or the slew of bad imitations). There's a lot of action and story twists here, including some decent wire-fu action set pieces (particularly one of Jet Li's fantasy character fighting off some ninjas), and even some destruction of large scale sets akin to Hollywood productions (one has a runaway steam train destroying half a town) but its mostly less than spectacular. One of the main reasons is probably that the narrative constantly jumps back and forth from the "real life" of the authors to the fantasy setting of the King of Adventurers, a clever idea that just doesn't work here. By trying to put in too many different pulp clichés into the mix, Dr. Wai ends up being a film whose parts are better than the whole. It's entertaining enough, but the interesting concept, and the talents of Jet Li, deserved a better script.
Entertainment: 5/10