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INSIDE MAN (2006) (**1/2)

Spike Lee is a master filmmaker, however his first real attempt at making a commercial film is filled with contrivances that undermine the overall message.

Dalton Russell (Clive Owen, CLOSER) tells us straight out that he is going to rob a bank and then walk right out the front door. Det. Keith Frazier (Denzel Washington, MALCOLM X) is assigned the case. From the stalling tactics of the robbers, he begins to think that this is more than a simple robbery. Turns out that bank owner Arthur Case (Christopher Plummer, SYRIANA) has a dark secret and incriminating proof lies within the bank. So he calls on Madeline White (Jodie Foster, THE ACCUSED), a woman whose job seems to be fixing delicate matters for rich men, to make sure that his secret is kept safe. Other key characters include Capt. John Darius (Willem Dafoe, THE ENGLISH PATIENT) and Det. Bill Mitchell (Chiwetel Ejiofor, DIRTY PRETTY THINGS).



Matt Buckner (Elijah Wood, LORD OF THE RINGS) has been recently kicked out of Harvard where he was studying journalism. He was charged with drug dealing, which was not true, but he was unable to stand up for himself against his powerful roommate, whose father is a senator. Lost at what to do next, Matt travels to England to visit his sister Shannon (Claire Forlani, MALLRATS), who has married a Brit named Steve (Marc Warren, TV’s BAND OF BROTHERS). Steve’s younger brother Pete (Charlie Hunnam, NICHOLAS NICKLEBY) is the leader of the local soccer gang… oh wait, I’d be beaten for that… football firm called the Green Street Elite.

These fans unite in support of their teams, getting drunk and usually getting in bloody fights with firms for opposing teams. At first, Pete wants nothing to do with the Yank Matt, but he decides to take him along to a match nonetheless. Pete’s right hand man Bovver (Leo Gregory, TRISTAN + ISOLDE) is greatly skeptical about allowing Matt to hang with them.



Director Nicole Holofcener (WALKING & TALKING, LOVELY & AMAZING) chronicles a group of female friends in their 30s and 40s, who are at different stages in their lives and relationships.

Olivia (Jennifer Aniston, THE GOOD GIRL) is the youngest and has recently quit her teaching job, taking work as a maid. She is single and pines over a former affair with a married man. Jane (Frances McDormand, FARGO) is a well-established clothing designer, who has stopped washing her hair and seems angry with everything in the world. Aaron (Simon McBurney, BRIGHT YOUNG THINGS) is her caring spouse, who everyone thinks is secretly gay. Christine (Catherine Keener, CAPOTE) is a screenwriter with her husband David (Jason Isaacs, HARRY POTTER AND THE CHAMBER OF SECRETS). They are adding an addition on their home, which alienates them from their neighbors. Their marriage is on the rocks because Catherine can’t handle David’s aloof disregard for other people. He distances himself from the world around him so much that nothing affects him emotionally at all. Franny (Joan Cusack, IN & OUT) is a stay-at-home mom, who has fulltime help. Her husband Matt (Greg Germann, TV’s ALLY MCBEAL) makes so much money that he can spend $90 on shoes for his four-year-old and give $2 million away to charity.


AKEELAH AND THE BEE (2006) (****)

Ever since the documentary SPELLBOUND was released there has been a resurgence of interest in spelling bees. In 2005, BEE SEASON was released, which prompted the studio behind AKEELAH AND THE BEE to wait to 2006 to release this film, which is a magnificent achievement.

Director/writer Doug Atchison finds amazing ways to take the inherent structure of the competition and build real tension and drama by crafting real multilayered characters around the action. Akeelah (Keke Palmer, MADEA’S FAMILY REUNION) is a smart 11-year-old who lives in the poor Crenshaw area of Los Angeles. She often hides her intelligence behind “ghetto talk” so that the other girls won’t call her a brainiac. She is uninterested in participating in the school’s spelling bee, but is all but blackmailed into it by her principal Mr. Welch (Curtis Armstrong, REVENGE OF THE NERDS). Mr. Welch wants to get Akeelah to the National Spelling Bee as good PR for the failing school. He enlists his old college friend Dr. Larabee (Laurence Fishburne, SEARCHING FOR BOBBY FISCHER), the former head of the English department at UCLA, to train Akeelah.



This is one of the best films to come out this year. In a fairly disappointing theatrical year, it takes HBO to make something important and put it on TV. This is director Spike Lee’s best film in 14 years.

Lee took his cameras to New Orleans soon after Hurricane Katrina to chronicle what happened and what caused the worst civil engineering failure in U.S. history. He interviews dozens of people from all walks of life and color who live and work in New Orleans. In addition, he brings in experts to comment on the disaster as well as politicians and news reporters that covered the storm.

The most amazing thing we learn is how many people who lived there differ somewhat on their opinions, but for the most part they all agree that they were grossly let down by the governments that are supposed to protect them. For the most part, Lee uses talking head interviews of his various subjects, but weaves them together with news footage, creating one of the most compelling documentaries I’ve ever seen.


WORLD TRADE CENTER (2006) (***1/2)

I’m not going into the debate on whether it’s too soon for a film on 9/11, because I strongly believe that is a personal decision and can never be answered definitively. So I’m just going to focus on the film at hand.

Based on true events, the film follows a group of Port Authority officers who went into the towers to help and where buried in the rubble. Two of those men — John McLoughlin (Nicolas Cage, MATCHSTICK MEN) and Will Jimeno (Michael Pena, CRASH) — were later rescued. The film chronicles how the day started pretty much like any other day for these men. Officer Jimeno is on his typical patrol when the shadow of a plane passes by unusually low. The impact of the first plane is felt by all in the area. This is when the officers are called into action.


Nik, Nancy, Kirby and Molly have a home

Dear friends

Great news!!!

As of 1 October Nik, Nancy, Kirby and Molly have a home!!!!

We are in the very center of Gent in a VERY tiny house (yes, that's right we
actually found a house) with a private patio no less.

We invite you all to come visit us but no more than two people at a time
because any more than that will have to sleep in the bath tub (yes, we have
the luxury of a bath tub)

Please continue to write us at our post office box.

Pictures included . . .


Nik, Nancy, Molly and Kirby


KROK International Festival of Animation

Well, dear friends, here is what hapened at KROK after I finally arrived on
the boat -- it was smooth sailing from then on. I also do discuess the
animation least you think that I was not in the screening room.

I hope this gives you a little flavor of this unique Animation Festival.




The KROK International Festival of Animation is my favorite annual event.
Each year it is a seagoing experience in which 200 animators from around the
world spend 14 days steaming down rivers while watching animation and having
the opportunity to make truly lasting friendships. It alternates between
being held in Russia and Ukraine. This year participants gathered in Moscow
on August 7 at the Dom Kino, home of the Russian Filmmakers Union, for the
overnight bus ride to Nizhniy Novgorod. There they boarded the river cruiser
Marshall Zhukov to watch animation, eat, drink, to dance under the stars
until sunrise, and to have far too much fun!


My Trip to KROK With Fran Kafka

Dear Friends:

This year my KROK article will be in two parts. This episode is about my
train trip to KROK so even if you are not interested in Animation (which I
can not possible imagine) I think that you will enjoy the story of my
travels. The Festival article will follow in a seperate e-mail as will
photos of the trip and festival.

Hope this finds all of you well, that you had as wonderful a summer as I

PS Nik's comment about this whole thing was "I'm certainly glad I wasn't



On Saturday, August 5th as I sat at the window of the train in Gent,
Belgium, waving goodbye to Nik, I was full of thoughts of KROK, my favorite
international animation festival. Little did I suspect that my three-day
train trip to Moscow would turn into an adventure of epic proportions.


THE LIBERTINE (2006) (***)

This film is the story of John Wilmot, a.k.a. the Earl of Rochester, who was a top playwright at the time of Charles II, whose cynical view of the world lead to a life of debauchery and an early death.

As played by Johnny Depp, he introduces the film by stating bluntly that you will not like him nor doe he desire that you like him. Depp is again stupendous in the difficult role, which doesn’t sugar coat the character, but allows us to see the world from his point of view and understand a bit of his passion, which was what attracted people to him.

Charles II (John Malkovich, DANGEROUS LIASIONS) has banished Wilmot for bringing up the king’s mistress in front of his in-laws. However, Charles calls back Wilmot when he needs him to write a play in his honor. Everyone knows that Wilmot is talented, however he cannot bite his tongue or play along with the game. His brutal honesty and biting barbs against hypocrisy do not improve his standing.



I really liked Wes Craven’s gritty original THE HILLS HAVE EYES. It was scary and fascinating. Alexandre Aja, whose HIGH TENSION was a solid horror film until he ruined everything with an absolutely lame twist in the end, was assigned the duty of remaking Craven’s early horror classic. Funny that Aja, along with his co-writer Gregory Levasseur, would remove everything that made the original wonderful.

The general plot is the same. A family breaks down in the desert and are besieged by a family of mutant cannibals. The family dynamic is the same. Big Bob (Ted Levine, SILENCE OF THE LAMBS) is a retired cop who likes to tote around his guns. His wife Ethel (Kathleen Quinlan, APOLLO 13) is a conservative, church-going woman. Their young son Bobby (Dan Byrd, FIRESTARTER 2: REKINDLED) is the first to discover that the hills have eyes and is petrified by the fact. The middle child is an attractive blonde named Brenda (Emilie de Ravin, TV’s LOST), who wishes she were not on this family vacation. The oldest sibling Lynn (Vinessa Shaw, EYES WIDE SHUT) has a young child and is married to the annoying, “non-violent” Doug (Aaron Stanford, X2: X-MEN UNITED).


FIRECRACKER (2005) (**1/2)

This independently produced murder mystery peaked my interest because it involved the sideshow and Mike Patton, the lead singer of Faith No More. I was hoping for a surreal thriller, but received a poorly acted, mess of a narrative.

The film tells two parallel stories of abuse with Patton playing two roles and Karen Black (FIVE EASY PIECES) playing two roles as well. Jimmy (Jak Kendall, film debut) and his mother Eleanor (Black) are tormented and tortured by their hard-drinking brother/son David (Patton). Sandra (Black) works for a traveling sideshow where her and her fellow performers are under the harsh rule of carnival owner Frank (Patton).

David is obsessed with Sandra, who doesn’t want to have anything to do with him. After hearing, Sandra perform Jimmy wants to go on the road with her to set himself free, but she knows that being with Frank is no form of freedom. As secrets are laid bare, David goes missing. And as a wonderfully constructive opening shot reveals has been buried in a shed. Female police officer Ed (Susan Traylor, HEAT) is on the case to find out what happened to David and who is responsible.



Like many I was really looking forward to seeing the PIRATES sequel. So you can understand my disappointment when I went to see it and it turned out to be just a 2 1/2 hour trailer for PIRATES 3. Gone is the magic of the first film. Gone is the originality. You know a sequel is in danger when it has to recycle the jokes from its predecessor.

Like the MATRIX sequels, PIRATES seems to only have enough story for one new film, but not two. Only MATRIX blew all its new stuff in the second film where as (I hope) PIRATES is waiting to end strong. DEAD MAN'S CHEST opens with the interruption of the rain drenched wedding of Elizabeth Swan (Keira Knightley, PRIDE & PREJUDICE) and Will Turner (Orlando Bloom, LORD OF THE RINGS). During the ceremony, they are arrested by Lord Beckett (Tom Hollander, THE LIBERTINE) for freeing known pirate Captain Jack Sparrow (Johnny Depp, FINDING NEVERLAND). However, Beckett is interested very little in justice and more in blackmail, sending Will out to retrieve Sparrow’s compass in an effort to save Elizabeth.


LITTLE MISS SUNSHINE (2006) (***1/2)

August usually isn’t the month to find the best of the summer movies, but this year Hollywood has saved the best for last. This is the funniest film I’ve seen since THE 40-YEAR-OLD VIRGIN — the ending had me laughing so hard I was in tears. Fox Searchlight paid $10.5 million at the Sundance Film Festival for the rights to distribute this film, which was a huge amount for an indie production. They got their money's worth.

Written by Michael Arndt and directed by Jonathan Dayton and Valerie Faris (all making their feature debuts), the film is a quirky, sometimes dark, comedic road picture, which skewers the notion of winners and losers. The family in the center of the story is headed to California in their VW bus after 7-year-old Olive (Abigail Breslin, SIGNS) is accepted into the Little Miss Sunshine beauty pageant.


THE DESCENT (2006) (***1/2)

Last year around Halloween the magazine Total Film released its list of the best horror films of all time. One on the list stuck out — THE DESCENT from 2005. I knew nothing about it, but being that it was new and made the list, I was totally intrigued.

I learned that I was a British film made by Neil Marshall, whose DOG SOLDIERS went direct to SCI FI Channel in the U.S. and was not very good. THE DESCENT is not only a huge improvement over Marshall’s first film, but stands as the best horror film released widely in U.S. theaters since SCREAM. This film knows what’s scary and why it’s scary.

Following a tragedy in her family, Sarah (Shauna Macdonald, TV’s MI-5) agrees to accompany her friends on a spelunking trip in the Appalachian mountains. Her friend Juno (Natalie Jackson Mendoza, THE GREAT RAID) wasn’t there for Sarah after the tragic event while Beth (Alex Reid, LAST ORDERS) was right by her side, knowing that Juno is holding a secret from Sarah. Accompanying the trio are motherly Rebecca (Saskia Mulder, THE BEACH), Rebecca’s med student sister Sam (MyAnna Buring, 2006’s THE OMEN) and the punked out Holly (Nora-Jane Noone, THE MAGDALINE SISTERS).


XX/XY (2003) (***1/2)

This character piece about an emotionally immature man who has only shallow, revengeful feelings is quieter and more contemplative than you may think.

Coles (Mark Ruffalo, YOU CAN COUNT ON ME) is an independent animator who meets college student Sam (Maya Stange, TV’s MCLEOD’S DAUGHTERS) at a party after watching her in the subway earlier that day. They hook up that night… but with a twist. Sam invites her friend Thea (Kathleen Robertson, TV’s BEVERLY HILLS 90210) to join them. It doesn’t end right, but Sam still wants to see Coles. That first encounter taints their relationship from there out.

Coles is the kind of guy who doesn’t feel deeply about anything outside of himself and has a vindictive streak as well. After a painful break up, the film jumps forward 10 years. Coles has given up on being a filmmaker and now works for an advertising agency, which he hates. He’s been dating Claire (Petra Wright, TV’s ALIAS) for six years with no talk of getting married. Coles runs into Sam and they agree to meet up with Thea.


WITHNAIL & I (1987) (***1/2)

This British cult comedy finds two unemployed actors in 1969 leaving London to holiday in the country. Marwood (or I) (Paul McGann, 1996’s DOCTOR WHO) is a paranoid man who worries about everything. Withnail (Richard E. Grant, GOSFORD PARK) is a highly educated drunk, who stumbles through life thinking he’s better than everyone as a cover for his utter failure as an actor.

To get out of the city, Withnail cons his gay uncle Monty (Richard Griffiths, HARRY POTTER) into loaning them his rundown cabin in the country. Marwood’s on-edge personality mixed with Withnail’s snobby manic behavior makes for a lot of funny moments. When they arrive in the country, the film mines the contrast between the boozed out and drugged up Withnail and Marwood and the conservative locals.


THE SWORD OF DOOM (1966) (***1/2)

Director Kihachi Okamoto (KILL!, ZATOICHI MEETS YOJIMBO) creates a stylish samurai tale that stands out due to its central character who would be a villain in any other film. One could compare it to other samurai films, but better comparisons would be TAXI DRIVER, HENRY: PORTRAIT OF A SERIAL KILLER or DAHMER.

Ryunosuke Tsukue (Tatsuya Nakadai, RAN) is a sociopath. Making things worse for everyone else is that he’s the best samurai around. Our introduction to him is him cold bloodily murdering an old man (Kamatari Fujiwara, KAGEMUSHA) as he prays. Subsequently the old man’s granddaughter Omatsu (Yoko Naito, RED BEARD) is adopted by the thief Shichibei (Ko Nishimura, LADY SNOWBLOOD), who has her stay with a mean flower arranger.


SLEEPOVER (2004) (*)

Where is John Hughes when a generation of teens need someone to supply them with films that do not constitute mental abuse? This tween concoction is a collection of caricatures taped together with clichés.

It’s the summer before Julie Corky (Alexa Vega, SPY KIDS) begins her freshman year in high school. She wants nothing more than to sit at the fountain during lunch instead of the tables by the dumpsters and date the school’s skateboarding, prep hunk Steve Phillips (Sean Faris, who was 22 when he made this film and sure looks it, YOURS, MINE AND OURS).

To celebrate the end of the junior high, Julie is having a sleepover, inviting her best friend Hannah (Mika Boorem, HEARTS IN ATLANTIS), bubbly Farrah (Scout Taylor-Compton, TV’s CHARMED) and blonde, socialite Stacie (Sara Paxton, AQUAMARINE), who skips the silly sleepover because she’s going to the high school dance with Todd (Thad Luckinbill, JUST MARRIED). Julie replaces Stacie with the heavy girl Yancy (Kallie Flynn Childress, TARGET). Julie’s mom Gabby (Jane Lynch, BEST IN SHOW) still treats her like she’s a little girl and her father Jay (Jeff Garlin, TV’s CURB YOUR ENTHUSIASM) is your typical clueless film dad that supplies needed plot devices and comic relief when needed.


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.


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.


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).


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.



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.


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.