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BLOOD DIAMOND (2006) (***1/2)

Director Edward Zwick, who has made his career up of smart action films, makes his most socially conscience film to date. This film takes a scathing look at the diamond industry at the end of the 20th Century. Blood diamonds or conflict diamonds are being smuggled out of civil war torn places like Sierra Leone to fund the bloody slaughter of people within Africa.

The film begins with Solomon Vandy (Djimon Hounsou, IN AMERICA) walking his son Dia (Kagiso Kuypers, film debut) to school when RUF rebels raid their village gunning down anyone in sight. Solomon is able to get his family to safety, but he is captured in the process and sent to a mining camp to dig for diamonds. While there, he finds a huge pink stone well over 100 carats and makes the very dangerous decision to pocket the jewel. In jail, smuggler Danny Archer (Leonardo DiCaprio, THE DEPARTED) learns of Solomon's pink diamond from the murderous rebel leader Capt. Poison (David Harewood, THE MERCHANT OF VENICE), who vows to find the diamond himself.


CHINATOWN (1974) (****)

This neo-noir simmers with sin and corruption. J.J. Gittes (Jack Nicholson, ONE FLEW OVER THE CUCKOO'S NEST) is a former cop who worked the seedy streets of Chinatown where he eventually became so disillusioned by the violence and sleaze that he left the force and became a private eye. However, that move still doesn't remove him from violence and sleaze as he becomes notorious for making his living taking incriminating pictures of people. His life seems to be trapped in a vicious circle of meaning well, but always causing others to get hurt.

Then walks in his next case, Mrs. Mulwray wants her husband Hollis (Darrell Zwerling, GREASE) followed, because she suspects that he is cheating on her with a younger woman. So Gittes watches the big wig in the water department as he battles others in the city government who want to build a new dam to supply much needed water to the drought plagued city of Los Angeles. When Gittes and his men get shots of Hollis with the young girl, they end up on the front page of the paper, which is followed by the real Mrs. Evelyn Mulwray (Faye Dunaway, NETWORK) wanting to sue and finally Hollis' murder.


IN THE HEAT OF THE NIGHT (1967) (****)

This crime mystery is one of my all time favorite films. The murder of a prominent businessman plays a central role in the narrative, but the homicide is not what the film is about.

Officer Sam Wood (Warren Oates, BRING ME THE HEAD OF ALFREDO GARCIA) finds the dead body of Philip Colbert in an alley. The small town of Sparta, Mississippi doesn't see crimes like this one, so gruff police chief Bill Gillespie (Rod Steiger, ON THE WATERFRONT) sends out his officers to pick up any and all possible suspects. Sam finds black man Virgil Tibbs (Sidney Poitier, A PATCH OF BLUE) at the train depot and arrests him without question. When the chief interrogates Virgil about where he got the large sum of money in his wallet, Virgil says he earned it — as a police officer in Philadelphia.



By Rick DeMott | Wednesday, December 13, 2006 at 1:00am

Writer/director Anthony Minghella (THE ENGLISH PATIENT) crafts a multilayered drama that investigates the criminal heart in all of us.

Will (Jude Law, CLOSER) is a landscape architect working on a project to turn an impoverished area of London into a viable quarter. He lives with his long-term girlfriend Liv (Robin Wright Penn, NINE LIVES) and her autistic daughter Beatrice (Poppy Rogers, FROM HELL). Will and Liv’s relationship is on the rocks. Will and his partner Sandy (Martin Freeman, HITCHHIKER’S GUIDE TO THE GALAXY) set up their new office in the very neighborhood they are trying to revive. However, this leads to several break-ins, conducted by free runners, including Miro (Rafi Gavron, film debut), who works for a group of immigrant crooks.


FORBIDDEN GAMES (1952) (****)

This is the kind of film that makes you smile and laugh right up to the point when it rips your heart out. It does so while tackling grand issues of life and death and the loss of innocence in the confines of a simple plot.

Paulette (Brigitte Fossey, READY FOR LOVE) is a five-year-old girl fleeing Paris as the Germans bomb the city during WWII. Along the crowded road leading out of the city, her parents and her dog are gunned down by machinegun fire. She almost instinctively realizes her parents are dead. While he's trying to catch a runaway cow, 10-year-old Michel Dolle (Georges Poujouly, ELEVATOR TO THE GALLOWS) discovers the young girl, who clutches her dead dog, and takes her to his father (Lucien Hubert), who begrudgingly takes in the girl only so his neighbors won't, making them the heroes.


Our trip to Espinho, Portugal

Dear Friends:

This article is about our trip to the CINANIMA Animation Festival in
Espinho, Portugal in November. Tomorrow I leave for my last week of
teaching in Lucerne, Switzerland and a short visit with my son in Munich.
In a few weeks I will write a long update about our (very happy) life here
Gent and the adventures and mysteries of our first holiday season here.

Warmest Regards,


If an animator friendly festival with excellent screening conditions and top notch animation is not enough for you, then you need to go to Cinanima, 6 through 12 November in Espinho, Portugal. Added to all of the above was the beautiful beach right outside of our hotel room with warm water and after the cold weather I had just left in Switzerland it was sometimes difficult to go into the screening room. The 30th Anniversary of the Festival offered so many delights that my efforts were well rewarded.


CLERKS II (2006) (***1/2)

By Rick DeMott | Wednesday, December 6, 2006 at 12:25pm

This sequel to director Kevin Smith's breakthrough indie sensation returns 10 years after the events of the first film to see where its main characters are now. Well they're pretty much in the same place as they were before.

The film begins with the convenience store — where Dante (Brian O'Halloran) and Randal (Jeff Anderson) worked in the original — burning to the ground. Then we jump a few years forward in time with the duo flipping burgers at the Mooby's fast food joint. It's Dante's last day for he is moving to Florida with his fiancée Emma (Jennifer Schwalbach, JERSEY GIRL), where he will work in his future father-in-law's car wash.

Also returning is drug dealers Jay (Jason Mewes) and Silent Bob (Smith), who are now fresh out of rehab and hanging out in front of the Mooby's. Added to the cast are Mooby's manager Becky (Rosario Dawson, ALEXANDER), who didn't plan to be working fast food for so long when she moved back home to care for her sick uncle, and Elias (Trevor Fehrman, CHEATS), a LORD OF THE RINGS-obsessed conservative Christian who Randal loves to torture.


ALI G INDAHOUSE (2002) (*1/2)

By Rick DeMott | Wednesday, December 6, 2006 at 11:30am

Everything from the satirical edge to the perfect timing to the audacious originality that made BORAT so good is missing from Sacha Baron Cohen's first attempt to take characters from his DA ALI G SHOW to the big screen. ALI G INDAHOUSE is sunk by an awful sitcom plot and tired, recycled juvenile humor.

In the film, Ali G is a wanna-be gangster, who works at a youth center teaching kids how to "Keep It Real." When the center's funding is pulled, he chains himself to a fence in a pitiful attempt at a hunger strike. However, this incident gives deputy prime minister David Carlton (Charles Dance, SWIMMING POOL) an idea. Because his political party is looking to court the youth vote, he believes Ali G will fit the bill and ultimately bringing down the Prime Minister (Michael Gambon, GOSFORD PARK), giving Carlton the chance to take over.


THANK YOU FOR SMOKING (2006) (***1/2)

This satirical comedy actually works better as a character study than a poignant attack on Big Tobacco. At its center is the fascinating Nick Naylor, chief spokesman for Big Tobacco's pseudo-health organization. And he's played perfectly by Aaron Eckhart (IN THE COMPANY OF MEN).

Naylor is a major wheeler and dealer and his moral flexibility is like a wet noodle. But he has to be as the face defending tobacco to the public. As such, his only friends are the MOD (Merchants of Death) Squad — Polly Bailey (Maria Bello, A HISTORY OF VIOLENCE) and Bobby Jay Bliss (David Koechner, ANCHORMAN) — who represent the alcohol and gun industries respectively. His boss BR (J.K. Simmons, SPIDER-MAN) needs him to figure out a way to increase sales for the top boss Doak "The Captain" Boykin (Robert Duvall, THE APOSTLE) is pressuring him. Naylor comes up with the idea to make cigarettes cool again by getting a sponsorship deal with a Hollywood film. So he travels to L.A. with his son Joey (Cameron Bright, BIRTH), who just idolizes his father.



The opening third of the original WHEN A STRANGER CALLS is one of the tensest sequences in horror film history. However, due to a completely random middle act, the film squanders all of its potential. So when I heard they were remaking it, I finally thought now here is a chance to make a great horror flick. Again for some reason Hollywood isn't listening to me.

The remake takes the opening third of the original and stretches it out to 87 minutes. Jill Johnson (Camilla Belle, THE BALLAD OF JACK AND ROSE) has run up her cell phone bill and her parents have taken away her phone and car as punishment. Additionally, she has to babysit to pay back her mom and dad. So her father drives her out to a huge, gorgeous house in the middle of nowhere to sit for Dr. and Mrs. Mandrakis (Derek de Lint, DEEP IMPACT, & Kate Jennings Grant, UNITED 93). Soon after arriving she begins to get creepy phone calls.


Composer Nik Phelps; filmmakers - music for your film!

Nik and Nancy Phelps have finally completed their relocation to Gent,
Belgium, and the new music studio is set up and ready to go. We now have
the cherished Belgian work permit, and will be taking on new projects
starting after the new year.

Nik has just finished music for Nina Paley's upcoming feature, Sita Sings
the Blues, is currently working on animation projects for animators Lance
Taylor in Canada, and Jordie Doubt in Switzerland, and will be providing
music for the politically topical website of John Grimes and Robin Chin in
the United States ( ) We are currently putting together our
spring 2007 production schedule, so contact us now for music for your
animation, documentary, or film project. You may not think that original
music is affordable, but you will be surprised. Ask us about our reasonable
rates and check out our web site at


GIMME SHELTER (1970) (***1/2)

By Rick DeMott | Thursday, November 30, 2006 at 11:27am

This now classic rock documentary set out to record The Rolling Stones during their 1969 American tour and ended up capturing a killing during the free concert at Altamont.

The film foreshadows the tragedy at Altamont at the start with members of the band including Mick Jagger watching the footage from the concert. Then we move into performances from the road of some of the Stones' classic songs, including at the time rough versions of new songs, "Brown Sugar" and "Wild Horses." As part of the tour, we also get a sexually charged performance from the opening act, Tina and Ike Turner.

As the tour rolls along, directors Albert and David Maysles intercut footage of the organizers trying to work out the details of the free concert. It becomes quickly apparent than with the hundreds of thousands of people expected to come to the event that the organizers have gotten themselves in over their heads. Hiring the Hell's Angel motorcycle club as security probably wasn't a good idea too.


BEAUTY AND THE BEAST (1946) (****)

By Rick DeMott | Wednesday, November 29, 2006 at 5:37pm

Visually original and emotionally powerful, this telling of the classic fairy tale is still a magical experience even though it is now 60 years old. The story is as everyone knows — the beautiful Belle (Josette Day, 1933's THE BARBER OF SEVILLE) gives herself to the Beast (Jean Marais, 1950's ORPHEUS) as his prisoner to spare the life of her father (Marcel Andre, THE STORM WITHIN), who fell into debt with the Beast after picking a rose from the creature's garden for his daughter.

Before this conflict starts, we look into Belle's life with her family. She serves her snobby sisters Felicie (Mila Parely, THE RULES OF THE GAME) and Adelaide (Nane Germon, LES BICHES) like Cinderella. Her brother Ludovic (Michel Auclair, 1957's FUNNY FACE) has gotten the family into great financial trouble. Because she is so dedicated to her family, especially her father, Belle will not even consider the proposals of Ludovic's arrogant friend Avenant (Marais).


BABEL (2006) (***1/2)

Director Alejandro González Iñárritu again interweaves the tales of multiple characters, but this time they happen to be in vastly different parts of the world.

The film begins in Morocco with Mohammed (Mustapha Amhita) buying a used rifle for his sons Ahmed (Said Tarchani) and Yussef (Boubker Ait El Caid) to kill jackals with. The fact that the younger Yussef is a better shot makes his brother angry, spurring him to convince his younger brother that the gun is defective. His idea to prove that the gun cannot fire three km is to have his little brother fire at vehicles on the road in the distance.

This leads to American tourist Susan (Cate Blanchett, THE AVIATOR) being shot in the neck. Her husband Richard (Brad Pitt, 12 MONKEYS) is in a panic to get help in a country where he doesn’t speak the language and the closest doctor could be hundreds of miles away.


THE PRESTIGE (2006) (***)

Director Christopher Nolan broke onto the scene with complex twisting thriller MEMENTO and returns to the genre with another twisting period thriller pitting two rival magicians against each other.

We know from the start that Alfred Borden (Christian Bale, BATMAN BEGINS) is set to be hanged for the murder of rival magician Robert Angier (Hugh Jackman, X-MEN series). The plot weaves several timelines together as Alfred reads Robert’s diary about how he went to meet Nikolas Tesla (David Bowie, THE HUNGER) to convince the scientist to make him the same famed transported man magic device he made for Alfred.

As this timeline plays out, we go back to when Alfred and Robert first met under the tutelage of Cutter (Michael Caine, DRESSED TO KILL), who helped them design acts. This is where we learn how their rivalry started. Other important characters include the beautiful magician assistants Julia (Piper Perabo, LOST & DELIRIOUS) and Olivia (Scarlett Johansson, MATCH POINT), Tesla’s assistant Alley (Andy Serkis, LORD OF THE RINGS), Alfred’s long-suffering wife Sarah (Rebecca Hall, TV’s WIDE SARGASSO SEA) and Alfred’s daughter Jess (Samantha Mahurin, film debut).


EYES WITHOUT A FACE (1960) (****)

I was glad this film was in black & white. This is not just because it adds to the dark mood of the story, but because there is a surgery scene that in color would have been hard to stomach.

The film begins with Louise (Alida Valli, THE THIRD MAN), the assistant of brilliant surgeon Dr. Genessier (Pierre Brasseur, CHILDREN OF PARADISE), disposing of a body. Then Dr. Genessier IDs the corpse as the body of his daughter Christiane (Edith Scob, THE MAN ON THE TRAIN), who previously had her face torn off in an awful car accident. For the unaware, the film seems to be going one way for the entire first act, but then changes everything in an instant. If you want to have a completely virgin experience read no more and just watch the film. But for the curious or aware, I will go into a bit more of what this film has in store.



Horror master Wes Craven got his feature start with this controversial twist on Ingmar Bergman's THE VIRGIN SPRING. Up until this film, violence on screen hadn't been so cruel and twisted. Or so real.

Mari Collingwood (Sandra Cassel, TEENAGE HITCH-HIKERS) and her older friend Phyllis Stone (Lucy Grantham) set out to celebrate Mari's 16th birthday at a metal concert in the city. Meanwhile, her loving parents Dr. John and Estelle Collingwood (Gaylord St. James & Cynthia Carr) set up a small surprise party for their daughter. As the Collingwoods go about their day, we also meet up with escaped murders and rapists Krug Stillo (David Hess, SWAMP THING) and Fred "Weasel" Podowski (Fred J. Lincoln) along with Krug's meek son Junior (Marc Sheffler) and the wild woman Sadie (Jeramie Rain, THE ABDUCTORS).



Based on stories by Edgar Allan Poe, this film is truly a grand tale of good versus evil. Prince Prospero (Vincent Price, HOUSE OF WAX) cruelly rules over his subjects. When he discovers the red death plague in a village, he has it burned to the ground and takes prisoner the beautiful village girl Francesca (Jane Asher, 1966's ALFIE), her father Ludovico (Nigel Green, ZULU) and the girl's love Gino (David Weston, BECKET).

The prince's court is a place of great hedonism and vice where he decides to force Ludovico and Gino to fight each other and if they don't he will kill them both. This is all part of his diabolical plan to lure the innocent Francesca to the service of his master — Satan! Dun… dun… dun… duuuuun.


RISING SUN (1993) (**)

Philip Kaufman has made some brilliant films like THE RIGHT STUFF, THE UNBEARABLE LIGHTNESS OF BEING and QUILLS, but when he takes on straight thrillers he often missteps big time. The original Michael Crichton book that his film was based on was criticized as being Japan-bashing. The film can't be accused of this per se, but it does walk a dangerous road between knowing a lot about Japan and knowing nothing.

Lt. Webster Smith (Wesley Snipes, BLADE) has been assigned a kinky murder case, which occurred in the new L.A. building of a big Japanese corporation. Partnered with Smith is Capt. John Connor (Sean Connery, THE UNTOUCHABLES), who has a very friendly relationship with the Japanese, who want to keep the incident as quiet as possible. While it's tough for Connor to keep Smith diplomatic, it's nearly impossible to do so with Lt. Tom Graham (Harvey Keitel, PULP FICTION), who wants to wrap the case up as quickly as possible.



To all our American Friends we wish you a


To everyone who is gathering at Tracy and Richard's to carry on a long


AND . . . to the rest of our friends around the world we raise a glass to
you all




CASINO ROYALE (2006) (***1/2)

Bond is back in one of my favorite Bond adventures to date. I’m a fairly new 007 fan and have not seen all of them yet. I typically enjoy the more realistic installments like FROM RUSSIA WITH LOVE and FOR YOUR EYES ONLY. So this Bond reboot back to its espionage roots is greatly welcomed.

The film begins with a black and white segment showing us how James Bond (Daniel Craig, LAYER CAKE) reached 00 status. After some stylishly animated opening credits, we meet up with Bond in the midst of him tracking a bomber, which ends in a reckless Bond embarrassing the British government. His boss M (Judi Dench, SHAKESPEARE IN LOVE) wants him to back off, but he goes out hot in pursuit of the bad guys, which leads him to terrorist financier Le Chiffre (Mads Mikkelsen, KING ARTHUR).



Having previously collaborated on the script for ONCE UPON A TIME IN THE WEST, Dario Argento stepped behind the camera for the first time on this thriller, which he also wrote. (There is however debate on where he "borrowed" the plot from.) Nonetheless, Argento, arguably, may not have made a better film than this Hitchcock-like crime mystery.

Much like the inciting incident in his later horror/thriller DEEP RED, here, an innocent man witnesses a crime and is drawn into the investigation to discover the truth. The man is Sam Dalmas (Tony Musante, THE POPE OF GREENWICH VILLAGE), an American writer, who moved to Italy to become inspired, but has been unable to write since arriving. He's ready to move back to the States with his girlfriend Julia (Suzy Kendall, TO SIR, WITH LOVE) when he witnesses a struggle between Monica Ranieri (Eva Renzi, LOVE, VAMPIRE STYLE) and a black trenchcoat-wearing man, which leaves Monica stabbed in the stomach as the man in black flees.



Tobias Schneebaum was an established painter in the 1950s when he decided to change his professional direction and become an anthropologist. He believed that the best way to understand a native culture was to live with them and like them, which led him to develop homosexual relationships with men of the Asmat tribe as well as engage in cannibalism in Peru.

This documentary begins by showing us Schneebaum today. He is still tormented by what he did in Peru. He's poor and lonely, making money only through social security and conducting lectures about the Asmat culture on cruise ships.

The film brings Schneebaum to the Asmat tribe, which he stayed with for several months years before. He's taken aback when he unexpectedly is reunited with his Asmat male lover, for whom we quickly see he cared about deeply. We get the impression that Schneebaum loved his experience with the Asmat, because he found kindred spirits in the society where homosexuality is embraced.


THE CRAZIES (1973) (**1/2)

George A. Romero is a horror director who always has something to say in his films. This almost procedural-like thriller has some good moments, but doesn't work as a compelling whole.

A military plane crash has let loose a biological weapon in a small Pennsylvania town. The results of the infection either make people extremely violent or mindlessly docile. In a frightening opening sequence, a small boy tries to frighten his little sister until they both become scared of their ax-welding father. The military soon moves in and puts the town under marshal law. The hazmat suit clad soldiers don't explain anything to the citizens as they round them up and herd them into the school gym.