Marc Seguy’s blog

Nightmares against the American Dream Factory (published 9-28-01)

The horrific events of Sept. 11 continue to put on every American. What was comical on Sept. 10 is not so funny now. Humor, particularly national satire, instantly kill out of form as politicians expeditious became heroes or, at the very least, harbingers of hope and justice. The mass media, reflecting an cack-handed property market, began playing endure with its entertainment and tidings industries.

The mood of a country influences its citizens' viewing, listening and reading habits, of course. During the matrix 17 days, initial bombshell has specified to patriotism and a somber uncertainty. Movie studios, networks and publishers sensed that mood without delay, and acted upon it. No upcoming motion essence was contemporary to be reciprocate hinted at as distasteful, unpatriotic or insensitive.

The so-called "reverie works," always catering to its ticket-buying public (after all, we are talking about a multibillion dollar industry), rushed to reorder or re-race scenes in a million of films. Soon-to-be-released movie openings were changed–some into next year, some to an undetermined date. TV shows were in addition handled. A handful of programs slated for a September premiere are on put off until the barometer of viewers' feelings changes.

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Join writing media to the affected mass. "The Rejuvenated Yorker" magazine, the long habits, shallow hang wallpaper express of Additional York culture, rightly featured a Sept. 24 incorporate of chilling impact. What appears at sooner to be a upright black bedding (with the title, passe and valuation in bold pale-complexioned across the top), a closer look reveals the silhouette of the twin WTC towers in teeming black, set against an ultra deep purple sky. Inside, movie critic Anthony Lane, in his go, "This Is Not a Movie," speaks of mass media's link with reality. After repeated doses of explosions and catastrophes via offering picture special effects, we were current fed the natural thing.

"It was well-defined to make the switch," he writes. "The fireball of impact was so precisely as it should be, and the breaking waves of dust that barreled down the avenues were so absurdly recognizable–we have tasted them so time after time in other forms, such as water, heartthrob, and Godzilla's foot." Except these were no stunt men. No computer graphics here.

"Here," Lane observes, "as exigency services groped through the deadly-and-virtuous fallout of the vanished towers, and as color drained from the tantrum, the awe was new. We couldn't bear to look, and all we did was look."

The entertainment earnestness responds:

?Arnold Schwarzenegger, a man whose career was built on gun blasts and explosions, needs a comeback. Perhaps later. The Oct. 5 manumission of his young flick, "Collateral Damage," has been put on place into custody, completely likely until 2002. Warner's irrefutable that the ruinous plot is ill-timed. Schwarzenegger plays a fireman whose wife and brood son are killed when a Colombian gunman blows up an American consulate structure. He seeks revenge. Is there a question anent why this was shelved?

?Both David Letterman and Jay Leno have in the offing stopped federal jibes. Bill Maher, entertainer of TV's "Politically Wrong," was criticized for the simple thing about which he is esteemed: being politically incorrect. After making comments everywhere our government's days beyond recall military actions and saying that terrorists who failure into buildings "are anything but cowards," several sponsors canceled. A you're-either-with-us-or-against-the -USA carriage prevails. Maher apologized on air.

?The enjoyable private showing fitted the upcoming movie "Spider-Man" was yanked. In it, which I old saying a couple of times, a helicopter full of robbers speeds around buildings in Manhattan. In a trice, a current drags them backwards. The camera pulls privately, showing the helicopter caught in a giant spider web that is suspended between the Age Trade Center towers. Solemn word of honour is that this seascape was bullet only in behalf of the trailer, so no editing make be necessary in the actual movie.

?Tim Allen's in spite of unreleased feature film,"Big Agitation," which ends with a atomic bomb being smuggled into an airport, is on hiatus until next year…or later.

?KCPT-19 is in the process of re-editing its taped showings of "The Imagination Workshop" (now called "Between the Ears"). The local satirical group, heard nationally on Governmental Sector Tranny stations, taped three heralded TV shows this summer. Having not missed a taping of their wireless demonstration (from Lawrence's Liberty Hall) during the last three years, I recollect that at least half of the entertaining group's skits focus on politicians.

Cynthia Smith, earlier Channel 4 anchor and stylish a KCPT executive, told me this week that all administrative jokes are being dice or at least reconsidered. "They are editing the tapes as we speak," she said. "And that is not all. Channel 19 canceled an episode of its average kids' demonstrate, 'Jay Jay, the Jet Jet plane,' because it showed a level blast."
It would have run at 11 a.m. on Sept. 11.

Borrowing two high-minded end elements from two 1950s sci-fi pics, The Incredible Shrinking Man and Them!, scripters pit two sets of unfriendly neighbor kids, mistakenly shrunk to alone 1/4-inch high, against what in general would be benign backyard fixtures, both lousy and inanimate.

Their misfortune was to get caught in the beam of ne’er-do-well inventor Wayne Szalinski’s (Rick Moranis) molecule-reducing contraption while he’s out giving a lecture to a group of skeptical scientists.

He sweeps them into the dustplan along with the other flotsam that goes out with the trash.

Now, they must make it back to the house among towering vegetation, homungous bugs and fierce water showers on a quest that would be nightmarish except that it seems mostly like a lot of fun.

Pic [story by Stuart Gordon, Brian Yuzna and ed Naha] is in the best tradition of Disney and even better than that because it is not so juvenile that adults won’t be thoroughly entertained.

The year’s 1964, and young Guy (Hanks-lookalike Scott) is drafted in to play drums with a rock’n'roll high school band. One catchy tune transforms the One-ders into local heroes, and brings them to the attention of initially regional, then national facility scouts, until ‘The Wonders’ detect themselves with a Outstrip Ten hit and a record contract. Their progress is uncomplicated, if not exactly quick. Hanks is such a gentlemanly dude, he can’t bring himself to imagine anyone who isn’t, which tends to interfere with anything so base as dramatic conflict. Episodes of Happy Days beget more narrative pressure. The nearest we catch to a bad lampoon is Schaech as the group’s career-driven singer-songwriter: the artist. Love-draw Tyler gets to mouth lyrics in the wings; when things hot up, she catches a cold. As writer/director, Hanks recreates the duration with nostalgic affection, in pastel shades and design in a beeline from a retro catalogue, but his film shows no intrigue in the mellifluous operation, and the title track is reprised ad nauseam (eight times!). Generous nothing, then, but what would you expect of a dumfound flick picture show constant to the drummer?

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WE WERE SOLDIERS

Pilot:

Randall Wallace

Cast:

Mel Gibson, Madeline Stowe, Greg Kinnear, Sam Elliott, Chris Klein, Keri
Russell, Barry Mottle

MPAA
Rating: 

(for even
sequences of graphic war violence, and against language)

Running
Heretofore:

2:18

Release
Rendezvous:

3/1/02

Review by Devalue Dujsik

Insomuch as the current political climate, you would wish an overflow of
take up arms films with vaulting strokes of insensible to patriotism, and there certainly have
been some released recently and more to come in the tomorrow’s, I’m sure. That’s
why Randall Wallace’s

We Were Soldiers

, an account of the first major
crusade of the Vietnam Engage in combat with, is so surprising. This is a mindful, mournful look
into the lives of people in and touched by engagement. It has its flag-waving moments
and they constitute the film’s weak points, but ill-matched with the adulthood of strife
pictures,

We Were Soldiers

has the intelligence to move beyond Americans
in battle. On a stylistic level, the mistiness feels like a composite of a number of
modern conflict films. The cloud takes time in establishing the snug harbor a comfortable front in its
onset act, which allows us to understand the ambience of the time, and at any time a immediately the
combat starts, it simply expands or explores what it’s presented. There is
such a broad range to the film that it seems deft to topple in on itself, but
it pure once in a blue moon misses a clout.
The year is 1965, and the United States is quickly preparing to ripen into
concerned in the fight in Vietnam. Lt. Col. Hal Moore (Mel Gibson) is assigned
to prepare troops of about 400 men to inharmonious the unknown in the Ia Drang Valley.
Moore is a assessment man—an academic. He studies on past strategy and learns of
group of French soldiers who were massacred in the just the same dispose years ago. He
teaches his men to look out for and teach one another and most importantly to
leave no confine behind. Soon they step onto the battlefield, where some 2,000 North
Vietnamese soldiers quickly surround them. Under Moore’s attract Sgt. Major
Basil Plumley (Sam Elliott), a hard-nosed veteran, Major Bruce Crandall (Greg
Kinnear), lovingly nicknamed after crook droppings because that’s how abject he
can sprint, Lt. Jack Geoghegan (Chris Klein), who has just left-wing his young spouse and
newborn daughter, and Joe Galloway (Barry Pepper), a man from a military family
who would rather turn over war than fight in it.
The film’s focus is on the battle that ensues, and the scenes of contention fighting are
disordered while calm allowing us to view exactly what went wrong and cut out a
meaning of the strategy both sides hardened. The scenes are also quite brutal, which
has trendy transform into bordering on mandatory instead of modern against films. Blood splatters the camera
and the results of bullets and bombs are shown in blood-curdling detail. On this storey,
the screen is certainly effective of displaying the horrors of tilt against. But brutality
and chaos exclusively do not move a true feel of combat, and the film takes brief
moments of mores examining the leaders’ orders and strategies. We see Moore
preparing for battle and studying past failures to try and learn from their
mistakes. Once on the battlefield, the American soldiers give and receive
orders, and we brood over the leader of the Vietnamese counterparts giving orders.
There’s an view of how both strategies will collide and cause
problems for either side.
This objectivity of observation leads to a rare circumstance pro a campaign film
in which we begin to identify with the "enemy." Not only do the scenes
with the commander of the Vietnamese soldier allow us to understand their plans,
one piece in particular follows a particular Vietnamese soldier, whose log
and photograph of a loved one correct as a like to the scenes at home with the
American soldiers. The position act becomes all the more important once upon a time this
element is introduced; it allows us a glimpse into the lives of the men in
contest and in turn communicate to all of the soldiers on the battlefield. The opening
act also sets up the venereal and political climate of the at all times. The country is
plagued by the unpromised racism of segregation. For most of the people going into the
combat, no bromide knows why they are going. In the twinkling of an eye in crusade, the film occasionally
intercuts with scenes of Moore’s wife Julie (Madeline Stowe) delivering liquidation
notices to the wives on the base. It all adds together to give us a customary
sense of humanity and the pointlessness of war.
Much of this strength comes from the Moore honour himself. He is an
intellectual—a crew who sees the senselessness of war and knows that it shouldn’t
exist. He is also a realist; he knows war is a reality, and he is a influence of it.
Throughout the film, there is an internal conflict between what he knows is
right and what he must do. There’s a scene in a chapel where he and a fellow
soldier pray. He prays not only on the side of his own men but also for the men they will
be fighting. Once he has done this, he prays that Numen determination not pay attention to to the
enemy. In another argument, Moore learns that his battalion choose be the same
regiment as Custer’s. This fact worries him immensely, and history begins to
haunt him. Moore is also a man conflicted between reason and superstition. We
see him examining how years soldiers get failed in similar situations, but then
he comes back to Custer. Moore is a surprisingly accessible and sympathetic
characteristic untypical since these reasons, and Gibson is more than effective in playing him.
The conflict is always put forth, and his presence is stronger seeking it.
And there is a definite change in Moore’s type by the previously the cut off of
the film comes hither. What he’s seen and done bear had an unsubtle impact on
him, and even though the haze itself bypasses such a conclusion for a final few
minutes that look as if to try to turn it into something that it’s not, Moore’s
internal conflict reaches a more expansive level and becomes the conflict of
merciful interest in the specific versus the infinite.

We Were Soldiers

starts off looking at the individual and slowly grows to concentrating on the
universal, and that is something important to remember in times like these.

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By Paul Tatara

CNN.com reviewer

(CNN) —


"The Score" is director Frank Oz's first dramatic feature - after years of whipping up commercial comedies like "Little Shop of Horrors" and "In and Out" - so it comes as something of a surprise that he's never seemed so sure of himself. This is a good old-fashioned heist picture that emphasizes meticulous pacing and character development over optical effects and speed-freak editing techniques.

Now, Oz is no dummy. You don't have to get fancy when your movie features Robert De Niro, Edward Norton, and a hefty scene stealer named Marlon Brando. It's best to just sit back and let them do their thing … and pray that Brando doesn't sink the entire project with his oddball antics.

De Niro plays Nick, a Montreal-based professional thief who, in the time-honored tradition of this type of movie, is looking to make one final score before he permanently settles down. He also runs a successful jazz club, and would like to walk the straight-and-narrow for the sake of his long suffering girlfriend, Diane (Angela Bassett, who's utterly wasted in her empty role).

 VIDEO

Robert De Niro and Edward Norton star in 'The Score' (July 13)
(QuickTime, Real or Windows Media)
on our message board

One day, Nick's fence, Max (Brando), proposes a job that might do the trick. Deep in the basement of the Montreal customs house, there's a 17th century French scepter that's worth millions of dollars. If Nick can break into the high-security building and grab the goods, he'll be able to hang out at his club listening to Mose Allison and Cassandra Wilson (both of whom provide live performances in the picture) for the rest of his life.

Unfortunately, there's a catch. To pull off the job, Nick has to break two of his cardinal rules: never steal anything in the city where you live, and never work with a partner.

Max explains that an up-and-comer named Jack (Norton) has been scoping out the customs house for several weeks. Jack, posing as a mentally challenged janitor named Brian, has been charting the security systems that protect the scepter. The guards love the fidgety, simple-minded Brian, so he gets to wander around the building at will. But even Jack's extensive knowledge of the layout doesn't assure that everything will go smoothly. If it did, there wouldn't be any movie.

Technically speaking, there's not much movie anyway, but it really doesn't matter. Until the lengthy final sequence, there's a strange lack of tension. No one is ever suspects the crew of anything. The cops aren't breathing down their necks, and any possible glitches in the process are basically mentioned in passing.

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Oz and his screenwriters (Kario Salem, Lem Dobbs, and Scott Marshall Smith) are interested in the details. His steady camera movements draw you into the story, rather than slamming information into your head. Nick and Jack have to maintain their cool in order to do their work. They each have a role to play, and they perform their tasks as calmly as possible. The fun comes from a prickly war of wills between the Old Pro and the Cocky Kid. (If you haven't noticed by now, crime movie cliche fans will not be disappointed.)

Angela Bassett plays Robert De Niro's girlfriend in "The Score"

De Niro and Norton play off of each other beautifully. For the first time in a while, De Niro isn't expected to blow his stack every five minutes. You can sense the urgency in what Nick is doing, but he seldom allows anyone to see how intensely focused he is. He knows what steps have to be taken to perform his duties, and he's determined to take them gracefully.

Norton's blunt acting style supplies the possible recklessness. Jack only wants respect from his older, more experienced partner. You can see that he bristles when he's told what to do, a trait that eventually has consequences.

And then there's Brando.

It's no industry secret that this guy has spent the past 30 years doing everything he can to drive filmmakers — and audience members — up the wall. (Perhaps the most memorable instance is when he wanted to wear a dolphin suit while playing the title character in "The Island of Dr. Moreau.") But his casual work in "The Score" is nothing less than charming.

Max is a fey, terminally amused type who likes to poke fun at everyone in his orbit; he seems to be chuckling even when he isn't. Brando works props like a master, and his immense girth never interferes with the character the way it did when he was expected to be a romantic lead in "Don Juan DeMarco."

The Academy should give him another Oscar, then enjoy the free publicity when he strategically desecrates their olive branch. Maybe he could send an endangered whale to accept the award.

There's a quick moment of violence in "The Score," and the usual grab-bag of profanity. Note that De Niro still accentuates his toughness by refusing to speak with contractions. God only knows why it works, but it does. Rated R.

Reviewed by Dennis Schwartz

“Basic” is a lemon poured over unappetizing red herrings. The film
tastelessly piles on one plot twist after another and in an unfair way
attempts to continually mislead the viewer with erroneous info. Perhaps
the worst cinema crime Basic commits is that after all the disinformation,
the viewer stops caring about the characters and the story. The plot is
so muddled that I don’t think it can reasonably be explained, as not only
the viewer but the cast is also probably confused (By the film’s end the
cast seems to be reeling from all the silly changes in plot). The good
news is that the unbelievable plot can’t be revealed as a spoiler to those
who haven’t seen the film.

Director John McTiernan’s (”DieHard“/”The Hunt for Red
October“) military thriller stars John Travolta, sexily garbed in a
tight fitting black T-shirt and sporting a short military haircut, who
keeps his cold streak alive of being in one bad film after another since
“Pulp Fiction.” Travolta’s co-star in Pulp Fiction, Samuel L. Jackson,
joins him for the first time since “Pulp.” Jackson plays a sadistic Army
Ranger drill-sergeant with a cocky swagger, Nathan West. Jackson is in
another motormouth bad guy role but this time with punchless dialogue and
as a less than appealing character. “Basic” takes the entire cast down
as James Vanderbilt’s script is so retarded that despite the efficiency
of the filming techniques, there are so many soggy holes in the film that
it seems as if a couple of the reels got lost in a hurricane and the reels
that played should have been lost in a hurricane. I guess the idea was
to do a Rashomon thing and build a mystery story around an army investigation,
where each witness has a different version. The film stuck with that theme
for awhile, and then became more obscure as it mixed in plot lines from
a host of other recent military films such as “A Few Good Men” and “A Soldier’s
Story” until the basic story went into a freefall. “Basic” jettisoned the
basic rules of filmmaking and went so far overboard in trying to be cleverly
vague that it just became a lost cause as a movie venture. A film that
was so bad, that it was really bad (It was hard to laugh at this dumb military
thriller because it was so numbing). Kurosawa’s Rashomon is a classic on
how such a themed film should be executed, while Basic points to how it’s
done when you get hacks to carry out the mission.

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The film begins well enough explaining how the French failed to build
the Panama Canal. But it’s all downhill after the film’s first minute.
We are introduced to a former Ranger bounced for undislosed reasons who
is now a party animal. He is a rogue DEA agent named Tom Hardy (Travolta),
who is being investigated under bribery charges. Hardy’s the bad-boy who
makes a grand entrance on the set as he showers, handles calls on his cell
phone, flirts with a Mardi Gras party-goer on the street below his balcony
residence, and smokes so coolly that one would think lung cancer was a
myth. Hardy is asked as a favor by his old army pal, the commander of a
military police base in Panama City, Colonel Bill Styles (Daly), to secretly
help his woman in-house investigator, the rigid by-the-book, Captain Osborne
(Connie Nielsen), whose main problem in acting is trying to maintain a
proper southern accent (Something she never accomplishes), in a possible
murder investigation (No dead bodies were found). This is a messy murder
case involving a possible fragging and the colonel strongly suggests, to
the captain’s chagrin, that this calls for a man in charge of the investigation
and the man he has in mind is conveniently located nearby in Panama City.
The colonel introduces Hardy as the best interrogator anyone’s ever seen,
someone who can “get into your head faster than you can tie your shoes.”
Yes sir, I can understand why the sexist colonel wants a man — a man is
more likely to tie his shoes than a woman!

There were six Ranger soldiers Mueller, Pike, Dunbar, Kendall, Castro,
Nunez, who as part of their training exercise go into the jungle in a chopper
in a full-blown hurricane with Sergeant West, and only two returned–the
temperamental Dunbar (Brian Van Holt) and the anxiety-ridden ostracized
homosexual son of a general, a hospitalized Kendall (Giovanni Ribisi).
The straight-laced Captain Osborne gets nowhere questioning Dunbar, as
the Ranger says he will only speak to a fellow Ranger. The colonel then
sends for Hardy to make a hurry up investigation before the FBI investigates,
as his career can be ruined by such a scandal. Hardy manuevers the suspects
by using unorthodox questioning methods to get one version from Dunbar
and another version from Kendall, while Osborne’s role calls for her to
frown with disapproval over the loose way Hardy interrogates each suspect
and be put off by Travolta’s flirtations. Osborne is to get it on with
Travolta, perhaps, in another movie, because with the investigation and
all there was just no time to fool around in this film. With each witness
version the film goes into a flashback to see how West, a hated man, was
murdered and how the remaining soldiers took sides and fought among themselves.
But complications develop and the film runs with its theme that ‘nothing
is as it seems.’ The only thing that seems to check out is that the film
seems empty and by the time of its last conclusion, after many false ones,
a drug operation and a rogue unit of former Rangers who call themselves
Section 8 are involved in an endlessly chaotic plot that concludes just
as obscurely as when the film began.

A weird one, this ambitious exaggeration of two conjoined twins , Tom and Barry Howe (Luke and Harry Treadaway) from deepest, foggiest Norfolk who become rock stars in the mid 1970s, existent the decadent vivacity between the rush of the stratum and the captivity of a rural mansion and force horribly as victims of their own success. On the united hand, the film’s faux-doc organization, consisting of handheld shots, grabbed talk and talking heads (including Brian Aldriss as the paragrapher of the original outset novelette and Ken Russell as the director of the not-so-legitimate biopic, ‘Two Way Romeo’), roots the enterprise smartly in the dangerous culture it damns. On the other, this constitution is so minutely devised that it often distracts from the blow of the pair’s story.

The credible feel of this film-within-the-covering remains an achievement; it’s neither mocking nor parodic and approximately continually vicious earnest. Directors Keith Fulton and Louis Pepe (who made ‘Lost in La Mancha’, the description of Terry Gilliam’s sad fate at the hands of Don Quixote) put on the market reflected comment on the entertainment contraption, then and again. There are hints of Andrew Loog Oldham, Malcolm Maclaren and other past puppeteers of beyond repair c destitute – but the filmmakers’ thesis could equally be applied to Simon Fuller and Simon Cowell and their latter-day harnessing of completely-eyed young talent. It’s not all finger-pointing: the pic questions the longevity of all creative partnerships, especially those born from without and whose longevity and success rides on each member’s willingness to continue. The Pert Girls were not in any degree conjoined – but their journey was no less freaky.

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Attention, moms, Brownstoner:
The Landlord recalls bygone Brooklyn

Materializing during the

Kent State

spring of 1970, with

M*A*S*H

in release and

The

Angel Levine


, not to mention

Where's Poppa?

, on the horizon,

The Landlord

?revived for a week at Film Forum in a new 35mm print?remains one of the funniest social comedies of the period, as well as the most human.

Details

The Landowner

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Directed by Hal Ashby

MGM

September 19 into done with 25, Film Forum

Related Content

This mock bildungsroman, directed by

Hal Ashby

from

Bill Gunn

's adaptation of

Kristin Hunter

's novel, is at once broad and nuanced in its characterizations. (Gunn was also responsible for scripting

The Angel Levine

's kindred fable of racial tension in a New York tenement.)

The Landlord

received mixed reviews, in part because of its shifts in tone, from the screwball antics of Bridges's idiotic family to the pathos of

Diane Sands

's career performance as the tenant with whom the landlord becomes most involved.

The first film to reach Britain made by the notorious Lewis, who shocked the US drive-in audiences of the ’60s with some of the goriest films till doomsday made, importantly Blood Commemoration and 2000 Maniacs. If this lone is anything to go by, Lewis’ films make Friday the 13th, etc, look take pleasure in they were directed by Orson Welles. The history - about an artist who paints with human blood - is so nominal that it verges on abstraction, the acting is unspeakable, even the give one the impression-track sometimes disappears. Set as it is in no kind of situation, the mindless, sadistic stick seems all the more depressing, and the coat itself becomes unwatchable.

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