apostate Reviews

Book of Shadows: Blair Witch 2 (2000)

Yet another post-modern slasher / thriller

[6/10 · 31 October 2000]

As a follow-up, "Book of Shadows" fails to trump the innovation and intensity of the first film, relying on gore and startling scene changes for quick, cheap thrills. The beauty of the first film, I thought, was that it required almost no suspension of disbelief; it pulled you in, and kept you there. Completely lacking gore and violence, it was all suspense. The original captured that feeling of being 14, sitting around the campfire in the woods, and hearing a scary story. The second one is "yet another post-modern slasher / thriller".

As a stand-alone film, the best feature is an intelligent use of flashbacks and out-of-order sequencing that keep you interested. Parts of it, however, are so far-fetched that they pull you out of the film. And in the end, instead of being spooked, you feel sorry for the pathetic characters with screwed-up lives. Who wants to walk out of a horror film feeling sad?

The film seems a little rushed; it has a hard time deciding if it is supposed to be a documentary or a feature film, and could use one more rewrite to tie up loose ends. The concept of "group hallucination" should be explored more. The characters leave not-so-subtle hints of past issues, then drop them; character histories should either be explored, or excluded. My biggest complaint is that it is too loud: the soundtrack is too aggressive, too out-front. Overall, it is mediocre-to-good: six stars out of ten.

Stiff Upper Lips (1997)

Somewhat successful send-up of English period pieces

[4/10 · 16 September 2000]

The parody has a long and glorious tradition. Some actors (Leslie Neilson) have made a career of such films. I had never seen an English parody of English films before, and if "Stiff Upper Lips" is typical of them, I probably won't want to watch another. From my perspective, the film presented an interesting dichotomy: Respected actors (Prunella Scales and Peter Ustinov), good location, nice camera work, expensive costuming... for an insipid piece of tripe. It was pretty easy to recognize the comic references to "Howards End" or "Room with a View" or "Chariots of Fire", but the references weren't funny. The people weren't funny. The comic timing was poor. The running joke of English class prejudice was clumsy and poorly executed.

I think this film attempted something noble, but just plain failed in a few key areas. It had a lot of potential... the writers and director should watch a few classics in the genre (Blazing Saddles, Hot Shots, Loaded Weapon 1) before attempting their next parody.

All that being said, I am willing to give it the benefit of the doubt and say my American sensibilities may have gotten in the way of understanding the "English" humor. But I have a sneaking suspicion people back in the UK questioned the quality of this one, as well.

The Big Kahuna (1999)

Small production, big acting

[8/10 · 12 June 2000]

This was a stunning small production (only three speaking parts), but a very captivating film. It starts out like a funny Glengary Glen Ross, but quickly turns into a fascinating discourse on faith and vocation. Spacey, as usual, is excellent. DeVito is better than I've ever seen him, and young Facinelli holds his own as the young believer on fire for God.

Eyes Wide Shut (1999)

Kubrick's last film may not be his best, but it still great

[9/10 · 17 July 1999]

Eyes Wide Shut will be remembered as Kubrick's last film, not his greatest. But it is still a great film, none the less. The attention to detail, mood and lighting that are the hallmark of Kubrick's work are all found here. The story itself is fascinating. The sexuality is blatant, but with an interesting twist: the only real erotic sex is between Cruise and Kidman, all the other sex is portrayed as cold and heartless, or in effective black and white for fantasy sequences.

This was a stunning, and beautiful film. Be prepared for the unexpected. Be prepared to be shaken. This is not a film that leaves you easily. When I saw it opening night, the entire audience was mesmerized. They laughed out loud at some of the humorous parts, but otherwise were completely silent. In my opinion, this film did not have the gripping intensity of The Shining or Full Metal Jacket, but like all of Kubrick's films, it is an instant classic that warrants watching again and again.

Notting Hill (1999)

Engrossing, realistic look at a relationship

[9/10 · 16 May 1999]

Julia Roberts' best film since Pretty Woman. This was a romance that felt like it was real, like it could happen to you, one of those one in a million films that completely engrosses you. Julia Roberts plays a famous movie star who falls for an English shopkeeper (Hugh Grant), and the complicated, up-and-down romance that ensues. This is the first film I ever saw in which the audience clapped through the end credits. Roberts is stunning as the vulnerable and open actress, and Grant is superb as the reserved, bookish man confronted with the love of his dreams. There is just enough English humor to keep the pathos from crushing you, and an ending that leaves everyone satisfied. The direction is great, the Notting Hill / Portabello Road setting is quaintly beautiful. This is _the_ great romance of 1999.

Morella (1999)

The Bad Seed set in a world without sufficient lighting

[3/10 · 22 March 1999]

The dark and ominous music was the highlight of this exercise in predictability. In Poe's original Morella, the narrator's wife dies giving birth to her daughter. In this mediocre modernized telling, Morella is a genetic scientist who creates a clone of herself before dying. While Poe's text was full of eloquence (The days have never been when thou couldst love me- but her whom in life thou didst abhor, in death thou shalt adore), this script is driven by pretentious voice-overs. The movie tries too hard to be moody and creepy, and ends up being cheesy.