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Blogs THE PHENIX CITY STORY (1955) (***1/2)

Similar to many 1950s crime/message movies, THE PHENIX CITY STORY distinguishes itself with a raw and unflinching look at violence that was uncommon for the era. Based on the true story of Phenix City, Alabama, the film chronicles the men who stood up to 100 years of organized crime in an effort to clean up their town.

The film begins with a very dated documentary segment, which interviews some of the real life people involved in the story. Because it is completely separate from the fictionalized narrative, its weakness can be quickly forgotten. It’s like a bad newsreel was just tacked onto a good movie.

John Patterson (Richard Kiley, BLACKBOARD JUNGLE) is a young lawyer, who after working in Germany, has returned home to Phenix City. His father, Albert (John McIntire, PSYCHO), is the town’s lawyer, who has stayed out of the way of organized crime, which is run by Rhett Tanner (Edward Andrews, TORA! TORA! TORA!), a portly fellow who hides his dark streak behind a genteel southern demeanor.

Blogs PAPARAZZI (2004) (*)

Here’s a film that’s trying to make a statement on a subject it has no real knowledge of.

Bo Laramie (Cole Hauser, GOOD WILL HUNTING) has been plucked from obscurity to become the biggest movie star in the world over night. Him, his wife Abby (Robin Tunney, TV’s PRISON BREAK) and their son Zach (Blake Michael Bryan, JURASSIC PARK III) have moved to L.A., where Bo has an altercation at his son’s soccer game with a paparazzi photographer named Rex Harper (Tom Sizemore, BLACK HAWK DOWN).

The incident is a set up to get Bo to assault Rex while he’s being secretly filmed and photographed by other soulless photographers Wendell Stokes (Daniel Baldwin, KING OF THE ANTS), Leonard Clark (Tom Hollander, THE LIBERTINE) and Kevin Rosner (Kevin Gage, CHAOS). The evil paparazzi hound Bo relentlessly, causing a car accident (ala Prince Diana) that sends Abby to the hospital and puts young Zach in a coma. Now Bo wants revenge by any means.

Blogs ONCE WERE WARRIORS (1994) (****)

I never took director Lee Tamahori as a truly serious filmmaker, having directed ALONG CAME THE SPIDER, DIE ANOTHER DAY and XXX: STATE OF THE UNION. And his recent arrest for propositioning a police officer to perform sexual acts for cash while dressed in drag made him look like a strange Hollywood concoction. However, his work in the ‘90s is actually quite underrated, consisting of this film, THE EDGE and MULHOLLAND FALLS (unseen by me, but it has its fans).

ONCE WERE WARRIORS is clearly his masterpiece made with great care and passion. The native Kiwi brings to brutal life the state of Maori culture in modern New Zealand. Beth Heke (Rena Owen, A.I. ARTIFICIAL INTELLIGENCE) is the mother of five children, living just above the poverty line. Her family lives under the explosive violence — both mental and physical — of her husband, Jake (Temuera Morrison, STAR WARS: EPISODE II - ATTACK OF THE CLONES).

Blogs KOYAANISQATSI (1983) (***1/2)

KOYAANISQATSI is one of the most successful experimental film of all time. It’s the first film in a trilogy of films that deal with the conflict between modern man and nature. Director Godfrey Reggio believed that non-narrative films could reach a wider audience if they tackled important issues in a compelling way.

He also believes that film, as a collaborative art form, should be made with the director working as an equal with the cinematographer and composer. For the film, Reggio is the conductor working hand in hand with cinematographer Ron Fricke and composer Philip Glass, whose haunting score drives the film and becomes the star of the production.

The film begins with beautiful and expansive shots of nature. Grand landscapes bathed in light. Reggio uses time-lapse photography to animate the changing of time over the vistas, from the movement of clouds to the changing of day to night. This serene section is then instantly disrupted by an explosion that rocks a mountainside captured in slow motion.

Blogs ELEVATOR TO THE GALLOWS (1958) (***1/2)

This early thriller from director Louis Malle (AU REVOIR, LES ENFANTS, ATLANTIC CITY) drips with irony and tension from the opening until the end. It presents a film noir scenario of lovers in a murder conspiracy with a classic locked room mystery.

Florence (Jeanne Moreau, JULES AND JIM) desperately talks with her lover Julien Travernier (Maurice Ronet) over the phone. Their passion is the kind typical of a French film. After the call, Julien proceeds to carry out an elaborate scheme to murder his boss Simon Carala (Jean Wall) — Florence’s older husband. Julien’s plan is brilliant, but one mistake committed in a rush will unravel a progression of events, leading to the downfall of two couples. That second couple is young flower girl Veronique (Yori Bertin) and her two-bit hood boyfriend, Louis (Georges Poujouly, DIABOLIQUE). We don’t learn much about Florence and Julien in the beginning; just that they are in love. We watch as Julien carries out his devious, but ingenious, plan, but dread what will happen after he leaves a key piece of evidence behind. Things only get worse from there.

Blogs THE DIARY OF ANNE FRANK (1959) (***1/2)

Based on Frances Goodrich and Albert Hackett’s play that was based Anne Frank's actual diaries, George Stevens’ film production is able to capture the harrowing experience of the Frank family hiding in a store attic for nearly two years from the Nazis.

Told from the point of view of 13-year-old Anne (Millie Perkins, WALL STREET), the film takes place mainly in the hiding place. At first, Anne is accompanied by her sympathetic and supportive father Otto (Joseph Schildkraut, THE SHOP AROUND THE CORNER), her demanding and conservative mother Edith (Gusti Huber), her quiet, older sister Margot (Diane Baker, SILENCE OF THE LAMBS), battling couple Petronella & Hans Van Daan (Shelley Winters, LOLITA, & Lou Jacobi, AVALON) and the Van Daan’s 16-year-old son Peter (Richard Beymer, WEST SIDE STORY). Shop owner Kraler (Douglas Spencer, THE THREE FACES OF EVE) and his secretary Miep (Dodie Heath, SECONDS) bring the Franks and Van Daans food regularly. During working hours, however, they must remain entirely quiet, often remaining completely still for hours.

Blogs THE DEVIL AND MISS JONES (1941) (****)

Here is a perfect example of a premise that has been stolen for years, yet still retains a freshness due to perfect performances and an universal tale that transcends time.

John P. Merrick (Charles Coburn, GENTLEMEN PREFER BLONDES) is a reclusive millionaire, who is troubled by union protests at his department store. He decides to take a job incognito in the shoe department to find out who the agitators are. Salesperson Mary Jones (Jean Arthur, MRS. SMITH GOES TO WASHINGTON) takes Merrick under her wing after the old man ruffles the feathers of the department’s snobby manager Hooper (Edmund Gwenn, LASSIE COME HOME). Older clerk Elizabeth Ellis (Spring Byington, MEET JOHN DOE) also takes a liking to the seemingly helpless Merrick, who appears to be too poor to buy lunch. Mary ends up taking Merrick to a union meeting led by her boyfriend, Joe O’Brien (Robert Cummings, KINGS ROW).

Blogs DELICATESSEN (1991) (***1/2)

Mixing post-apocalyptic sci-fi with black comedy and a dash of romance, DELICATESSEN is a dish that may be too exotic for some tastes, but for others it will make their mouths water.

The film begins with a man dressed in garbage (Pascal Benezech) trying to escape from his apartment in a trashcan. However, his cannibalistic employer Clapet (Jean-Claude Dreyfus, A VERY LONG ENGAGEMENT) catches him first and butchers him. In this futuristic world, food is scarce, especially meat. So Clapet the butcher sells human flesh to the tenants that live in the apartments over his deli. He keeps hiring new handy man as a front for getting his next victim.

Clown Louison (Dominique Pinon, AMEILE), after losing his partner in a tragic incident, takes the job next. The apartment building is full of eccentric characters including: Julie (Marie-Laure Dougnac), the nearly-blind daughter of Clapet; the voluptuous Mademoiselle Plusse (Karin Viard, TIME OUT), who is having an affair with Clapet so she can get free food; brothers Robert (Rufus, METROLAND) and Roger (Jacques Mathou, THE HAIRDRESSER'S HUSBAND), who make those little boxes that when turned over sound like cows mooing; Aurore Interligator (Silvie Laguna, JEFFERSON IN PARIS), a tormented woman who hears voices in her head that drive her to try elaborate suicide attempts; Georges (Jean-Francois Perrier, VINCENT & THEO), Aurore’s snobby husband; the crude couple Marcel (Ticky Holgado, THE CITY OF LOST CHILDREN) and Madame Tapioca (Anne-Marie Pisani, LES BOYS II); the Tapiocas’ troublemaking boys (Boban Janevski & Mikael Todde); Marcel’s mother-in-law (Edith Ker); and the strange man in the basement known as the Frog Man (Howard Vernon, ZOMBIE 5), who lives in a water-filled apartment with frogs and snails. I should also mention the gun-toting Postman (Chick Ortega, WINGS OF DESIRE), who is in love with Julie.

Blogs BREAKING AWAY (1979) (****)

I love this film. I’ve seen this film nearly a dozen times and it still makes me laugh every time. The film is more than any category it may be labeled in. It’s a coming-of-age, sports film, but deals with the subject matter honestly with great insight.

Set in Bloomington, Indiana where the University of Indiana is located, the film deals with the divide between the wealthy college students and the locals who live in the town. Dave Stoller (David Christopher, CHARIOTS OF FIRE) is a townie, or as the film refers to them — cutters, which is a reference to the stone cutting factory where many of the townsfolk work. Stoller has just graduated from high school and dreams of becoming a professional cyclist. He is so into the Italian cycling team that he has learned Italian, speaks with an accent and drives his father, Raymond (Paul Dooley, POPEYE), nuts with opera music. He hangs around with a group of other cutters, including bitter, former high school quarterback Mike (Dennis Quaid, FAR FROM HEAVEN), sad jokester Cyril (Daniel Stern, CITY SLICKERS) and short, hothead Moocher (Jackie Earl Haley, THE BAD NEWS BEARS), who is secretly engaged to supermarket clerk Nancy (Amy Wright, THE AMITYVILLE HORROR).


My two-and-a-half star review of the original UNDERWORLD concluded with — “In the end, the filmmakers set up a promising possibility for a strong sequel. Hopefully, they use the first film as the backstory and focus on developing Selene and Michael’s relationship as the main crux of any future installments in this inevitable franchise.” The filmmakers must have missed my review.

We do feel in this film a greater connection between vampire Selene (Kate Beckinsale, PEARL HARBOR) and werewolf/ vampire hybrid Michael (Scott Speedman, TV’s FELICITY), but it goes nowhere. The Romeo & Juliet-like tale is gone. There’s little internal struggle present here, just Selene and Michael running from the bad guys.

Blogs ONE MISSED CALL 2 (2005) (**)

The original ONE MISSED CALL wasn’t anything more than a clever take on the ghost/grudge genre of Japanese horror films. The sequel mines the same territory with less scares and a very convoluted ending.

Again, people start receiving cell phone calls from themselves in the future that predict their demise. After her friends die at the hands of the curse, Kyoto (Mimura) and her boyfriend Naoto (Yu Yoshizawa) along with investigative reporter Takako Nozoe (Asaka Seto) try to find the origin of the grudge before it kills them. At first they believe it’s the same curse that killed in the first film, but it soon seems that this is a new killer ghost, possibly originating in Taiwan where Nozoe’s estranged husband (Peter Ho) lives. The only main returning character is Detective Motomiya (Renji Ishibashi).

Blogs Zagreb Animation Festival


If you remember my article about the Zagreb International Festival of
Animation two years ago you may recall how much I loved the Festival. From
the moment you arrive you feel that you are with family. The Festival's
director Margit Antauer, affectionately known as Buba, does everything to
make you feel welcome and her fabulous staff works overtime to try to tend
to your every need.
This year's event took place June 12-17. As I settled in to watch the
opening awards ceremony and the first competition program, little did I know
that this would be one of my rare spates of carefree animation watching
here, thanks to the ASIFA International board and committee meetings which I
needed to attend. True to past years, the opening competition program was
very strong, ranging from the National Film Board of Canada's Louise by
Anita Lebeau which I wrote about in the Annecy 2005 article, Ivan Maximov's
Wind Along the Coast which we screened at our two farewell performances in
the Bay Area and John Canemakers' Oscar winning film Moon and the Son: An
Imagined Conversation. Following the screening, there was a lovely welcoming

Blogs AU REVOIR, LES ENFANTS (1987) (****)

Louis Malle’s film based on his own childhood experiences during WWII takes its time and builds slowly to an ending of true emotional power. Because he takes his time and creates real characters, he does not need to resort to melodrama to make us weep, because we are watching events transpire to our friends.

Set during Germany’s occupation of France, Julien Quentin (Gaspard Manesse) is the son of rich parents, who send him off to boarding school against his will. He’s an outgoing popular kid at school with a vein of bully and troublemaker in him. A new kid comes to school named Jean Bonnet (Raphael Fejtö), who is often picked on by the other students. He’s smart and musically talented, but he doesn’t pray like all the other Catholic boys and whenever a German officer is around he gets really nervous.

Blogs THE TALENT GIVEN US (2005) (***1/2)

There’s a strange pull to this film, because the people in it seem so real. Director/writer Andrew Wagner actually uses his real family to play the lead characters. How much of the story is based off of these people is unknown, but we have to believe they are playing exaggerated versions of themselves.

Allen (Allen Wagner) and Judy (Judy Wagner) are a retired couple who have a bumpy relationship. After he loses money in the stock market, which we learn is something he’s done before, Allen goes out and buys a van — for family trips he says. However, Allen and Judy don’t see much of their kids, two of them living in Los Angeles. Their actress daughter Emily (Emily Wagner, TV’s E.R.) comes to visit from L.A. and with their other actress daughter Maggie (Maggie Wagner, ONE FINE DAY), Judy decides to take a spontaneous trip to L.A. to see their son Andrew (Andrew Wagner).

Blogs STAY (2005) (***)

This strange thriller presents a world that seems real at first, but becomes more and more unreal as time goes on.

Sam Foster (Ewan McGregor, MOULIN ROUGE!) is a psychologist who is filling in for his sick friend Beth Levy (Janeane Garofalo, THE TRUTH ABOUT CATS & DOGS). Beth’s patient Henry Letham (Ryan Gosling, THE NOTEBOOK) has set his car on fire on the freeway and tells Sam that he intends to kill himself on Saturday. Sam is conflicted on what to do, but he knows he has to try and stop Sam from hurting himself.

He feels reluctant to talk to his girlfriend Lila (Naomi Watts, KING KONG), because she once tried to kill herself by slitting her wrists in the bathtub. Things start to get weird when Henry claims Sam’s blind confidant, Dr. Leon Patterson (Bob Hoskins, MERMAIDS), is really his dead father. Sam wants to learn more about Henry so he seeks out the young man’s supposedly dead mother (Kate Burton, EMPIRE FALLS), who lives in an empty house with a vicious dog.

Blogs THE SISTERS (2006) (***)

Based on Richard Alfieri’s play, which was based on Anton Chekov’s THE THREE SISTERS, director Arthur Allan Seidelman brings together a talented cast for what amounts to a filmed play.

Olga Prior (Mary Stuart Masterson, FRIED GREEN TOMATOES) is the oldest sister and is called the “serious one.” Marcia (Maria Bello, A HISTORY OF VIOLENCE) is the middle sister — the “pretty one” — who has married psychiatrist Dr. Harry Glass (Steven Culp, TV’s DESPERATE HOUSEWIVES), who wed Marcia to “save” her. Irene (Erika Christensen, TRAFFIC) is the youngest sister, who has a dark secret she is keeping from her family. Andrew (Alessandro Nivola, JUNEBUG) is the brother, whose trophy fiancée Nancy (Elizabeth Banks, SLITHER) is not liked at all by the family.

Blogs HOSTEL (2006) (**1/2)

Director Eli Roth (CABIN FEVER) touches brilliance with this film, but ruins it with some of the vile cynicism that has infested recent horror films.

Paxton (Jay Hernandez, CRAZY/BEAUTIFUL) and Josh (Derek Richardson, DUMB AND DUMBERER) are two American college students who have gone to Europe to have endless nights of drinking, drugs and sexual conquests. They hook up with a wanderer from Iceland named Oli (Eythor Gudjonsson, film debut) who joins them in their debauchery in Amsterdam. Paxton is the definition of obnoxious American while Josh is more sensitive, yet follows Paxton’s every move. Oli is just a wild and crazy guy. They learn of a hostel in Slovakia that has the hottest women in the world, who just live to hook up with an American.

Blogs FIREWALL (2006) (**)

On some level FIREWALL works like all “family in jeopardy” thrillers work. However, if you’ve seen a few of them then you know what is going to happen.

Jack Stanfield (Harrison Ford, PATRIOT GAMES) is the chief security tech at a big bank that is in the process of merging with another big bank. Of course this merger is creating tension between Jack and his right hand man Harry (Robert Forster, JACKIE BROWN) and Gary Mitchell (Robert Patrick, TERMINATOR 2), the man in charge of making the transition from one owner to the other. Jack’s wife Beth (Virginia Madsen, SIDEWAYS) is an architect and that’s about all we know about her. Jack’s kids are Sarah (Carly Schroeder, MEAN CREEK) and Andy (Jimmy Bennett, HOSTAGE), who has a convenient deadly allergy to nuts.

Blogs DERAILED (2005) (**)

This modern film noir plays well for its first two acts, but jumps the tracks in the end. It wants to be a film noir, but it wants a happy ending, which is actually vicious when one thinks about it. Moreover, the criminals are so stupid in the end that one cannot believe they would be smart enough to pull off their original crimes in the first place.

Charles Schine (Clive Owen, CLOSER) is an advertising exec, whose daughter, Amy (Addison Timlin, film debut), is suffering from Type 1 diabetes. His wife, Deanna (Melissa George, 2005’s THE AMITYVILLE HORROR), and him worry constantly about their child’s health and the financial strain that it puts on their family. One morning, Charles rides to work on the train and realizes he has no money to pay for his ticket. Sexy stranger Lucinda Harris (Jennifer Aniston, TV’s FRIENDS) offers to pay for him, which Charles feels obligated to pay back.

Blogs CACHE (2006) (****)

Director Michael Haneke (FUNNY GAMES) draws the viewer into the mystery of his new film, which deals with issues of guilt and responsibility.

Georges and Anne Laurent (Daniel Auteuil, GIRL ON THE BRIDGE, & Juliette Binoche, THE UNBEARABLE LIGHTNESS OF BEING) are being terrorized by videotapes of the front of their house, which having been appearing on the front doorstep. They have no clue who is doing this to them. As the tapes change to more haunting locations and include cryptic drawings, Georges suspects that something from his past may be coming back to haunt him. Anne begins to fear for the safety of their son Pierrot (Lester Makedonsky, film debut) and the secrets of her husband.

Blogs SUPERMAN RETURNS (2006) (***)

SUPERMAN RETURNS is a somber and ironic return for the Man of Steel and a worthy film to stand alongside Christopher Reeve’s first two films.

Superman (Brandon Routh, big screen debut) has returned after a five-year mission to see the remains of his destroyed home world. On a more cynical Earth, the people have moved on, especially Superman’s main squeeze, star reporter Lois Lane (Kate Bosworth, BEYOND THE SEA), who has had a child, lives with a man and won a Pulitzer for an article titled, “Why the World Doesn’t Need Superman.” For the man in the red cape that’s gotta sting more than Kryptonite.

Lois is much more bitter than we remember. Her son is Jason (Tristan Lake Leabu, film debut) is smart, but physically weak with asthma. Lois’ perpetual fiancée Richard White (James Marsden, X-MEN) is a pilot and editor at the Daily Planet, who cares greatly for Lois and Jason and definitely feels threatened with Superman back in the picture.

Blogs MONSTER HOUSE (2006) (***1/2)

The big surprise of the summer thus far is just how fun MONSTER HOUSE is. Made with honesty and originality, the film is everything one can ask for in great entertainment.

DJ (Mitchel Musso, TV’s AVATAR) has been keeping close eye on his crotchety old neighbor, Nebbercracker (Steve Buscemi, DESPERADO), for some time. The old man is obsessed with keeping everything and everybody off his lawn. He’s a neighborhood legend. When DJ’s immature best friend Chowder (Sam Lerner, ENVY) losses his new basketball onto Nebbercracker’s yard, DJ risks the wrath of the mean man to retrieve it. This event triggers a series of incidents that make DJ believe that Nebbercracker’s house has come alive and has begun eating people.

Blogs THE LAKE HOUSE (2006) (**1/2)

I wasn’t all that interested in this film until it got rave reviews from Ebert & Roeper. After seeing it, I could have waited till video.

This time travel tale has Alex Wyler (Keanu Reeves, THE MATRIX) and Kate Forster (Sandra Bullock, WHILE YOU WERE SLEEPING) exchanging letters from the same lake house mailbox only two years apart. Kate has just left the all-glass lake house in 2006. Alex gets her letter to forward all her mail to her new address in 2004. When he goes to her apartment, it hasn’t even been constructed yet.

The two lonely people exchange letter after letter through the magic mailbox and develop a close bond. Outside of their mysterious relationship, Alex struggles to deal with his emotions toward his absent father Simon Wyler (Christopher Plummer, SYRIANA), who is a famous architect that believes Alex is wasting his life constructing cookie-cutter condos. Alex’s younger brother Henry (Ebon Moss-Bachrach, MONA LISA SMILE) reminds Alex that they once dreamed of starting their own architecture firm, but Alex doesn’t seem to have the drive anymore.

Blogs CARS (2006) (***1/2)

Pixar has done it again. The studio that Disney bought is seven for seven. They never cease to entertain, move and inspire. I must admit that I wasn’t impressed with the trailers for CARS, fearing that director John Lasseter was too cost to the material and that no one at the studio had the guts to tell him he was making a bad movie. After seeing the film, I will no longer doubt Mr. Lasseter.

I will admit it isn’t the best Pixar has made, but it stands as a worthy addition to their library of quality films. Set in a world where everything is a vehicle even the insects, Lightning McQueen (Owen Wilson, WEDDING CRASHERS) is a hotshot rookie racecar, who is taking the world by storm. After barely racing to a three-way tie at the Piston Cup finals, Lightning must get to California in a week to compete in a tie-breaking race against racing legend The King (real racing legend Richard Petty) and perpetual second place finisher Chick Hicks (Michael Keaton, BATMAN).

Blogs VIDEODROME (1983) (***)

David Cronenberg (THE BROOD, A HISTORY OF VIOLENCE) is a director, who for most of his career has been fascinated with the effects of violence, the human obsession with it and how it relates to sex. In his CRASH, people were obsessed with the effects of car crashes on the human flesh and became sexual aroused by it. In VIDEODROME, Cronenberg first mined the sadomasochistic realm with a bit of Orwellian conspiracy mixed in.

Max Renn (James Woods, SALVADOR) is an exec at a low-rent cable network that specializes in violent and soft-core programming. Renn is in search of the newest, edgiest programming he can find. At the station, tech head Harlan (Peter Dvorsky, TWINS) scans the airwaves for programs from other countries or pirated broadcasts. They discover a show called Videodrome, which features masked men in a single room torturing naked victims. Renn must have it.