Movieline Online

John Malkovich has made a career of out being creepy. I’m sure he’s capable of much more but when you can give someone goosebumps by crossing your eyes, you play to your strengths. Bouncing between artistic independents and bit parts in potential blockbusters, Malkovich seems to have an uncanny awareness of his own screen persona (how else do you explain Being John Malkovich ?) and how to use it to best effect. Which makes him a perfect choice to play the intellectually superior but morally repugnant character of Professor David Lurie, a South African instructor who manipulates attractive students into questionable sexual relations and feels not the slightest bit of regret. Based on the novel by Nobel Prize winning author J.M. Coetzee, Disgrace is a difficult film to enjoy but an easy one to admire, much like another recent adaptation, Cormac McCarthy’s The Road. Professor Lurie’s forced resignation is only the beginning of his ethical reeducation. A violent attack on his own dau...

Records are made to be broken. No one knows that better than director James Cameron who broke his own worldwide box-office take from Titanic with this sci-fi follow-up that pushed CG / 3D technology over the edge of “pretty good” to “holy crap!” The story itself is simply blue-skinned aliens laid over a Dances With Wolves blueprint (with a few spare parts from Cameron’s own films like Aliens and Terminator), but the environmentally friendly message combined with escapist entertainment hit at just the right time. There’s been an inevitable amount of backlash surrounding the film’s success, but for all its noble intentions, Avatar doesn’t aspire to be much more than 10-year-old boy fantasy…like a Boris Vallejo painting brought to startling life. In Cameron’s defense, The Blind Side didn’t hold up to much criticism either, but it was up for Best Picture! Much of Avatar’s appeal lay in the theatrical experience, something that even the impending onslaught of 3D televisions won’t repli...

In the second half of the 20th century, Italian filmmakers were merciless rip-off artists. Box office success meant a green-light for hundreds of copycat pictures hoping to capitalize on audience interest in any way possible: rampant retitling (Django anyone?), imported American stars (you’re welcome, Mr. Eastwood) and ample amounts of sex and violence. And while very few of these plagiarized productions are true classics, upstart DVD label Dorado Films knows there’s still an audience out there. And, boy, do they deliver…with pulp poster cover art packaging, actor biographies and gobs of trailers promising more to come. Thought Goldmember was the most blatant 007 title rip-off? How about FROM THE ORIENT WITH FURY starring American Ken Clark as Agent 077 Dick Malloy, a rock ‘em-sock ‘em playboy / spy on a mission to rescue a kidnapped nuclear physicist. Malloy might not have Bond’s expense account, but he gets into more fistfights than Connery had in the first three Ian Fleming a...

PONYO: Any widespread success the animated films of Hayao Miyazaki have in the U.S. can be laid directly at the feet of John Lasseter, now the head of Pixar. Lasseter’s perpetual cheerleading of the man nicknamed the “Japanese Walt Disney” eventually convinced the mouse house to release several of his older works on special-edition DVDs and even give Ponyo, his latest and rumored last film, a massive theatrical campaign. The irony is, for all the lush imagination on display, Miyazaki’s films are so culturally different from our own idea of what an animated film should be, they’ll likely never become part of the Disney lexicon. But you can see its influence in Pixar output like Up, whose airborne domicile has much in common with Howl’s Moving Castle. Even the dogfighting mutts are a reflection of the high-flying pig in Porco Rosso. Ponyo is actually a variation on Hans Christian Andersen’s The Little Mermaid, but the film is unmistakably Miyazaki’s, sporting a googly-eyed goldfis...

RED CLIFF: Like many other talented foreign directors, the Hollywood system sucked John Woo dry. Sure, it gave him more money for actors and ammunition. But even his best work in the States ( Face / Off ) couldn’t hold a candle to Hong Kong classics like Hard Boiled and The Killer . So what a relief to see him back on home turf with Red Cliff, an epic retelling of the 220 AD Chinese battle between the overwhelming might of the Emperor’s army and the rebellious forces of two remaining warlords. Think Troy meets Crouching Tiger . The original film was released in two parts in Asia, but the US market only gets the condensed version, shorter by two hours and a bit confusing at the start. Even with the missing pieces, though, Red Cliff is an impressive piece of work from a guy who could have just as easily continued padding his Hollywood resume. In fact, it’s unlike any of Woo’s previous films (maybe a pinch of Windtalkers , but who saw that?) with elaborately staged military s...

ROCK ‘N ROLL HIGH SCHOOL: Bookended between Animal House and Porky’s , this Corman quickie is one of the more memorable modern efforts from the producer and his crew of “do-it-for-the-fun-of-it” writers, directors and actors. P.J. Soles (who’d just been strangled by Michael Meyers in Halloween the year before) stars as Riff Randell, a quirky rebel whose obsession with The Ramones doesn’t jibe with the new administrative regime. Stripped of her front row tickets, Riff crashes the show anyway and convinces the band to stop by and rock the roof off Vince Lombardi High. The comedy is mostly dated sight gags and embarrassing schitck, but it’s endearing all the same…even more so with the recent passing of all the original Ramones members. Director Allan Arkush leans heavily on the Hard Day’s Night formula and makes the most of the Ramones’ raw stage power. With two songs written specifically for the film (including the title track) there’s not a better intro to the Ramones’ appeal t...

THE IMAGINARIUM OF DR. PARNASSUS: Although it makes better headlines to claim The Dark Knight was Heath Ledger’s final onscreen performance, the actor’s swan song was actually in this visually ambitious but narratively frustrating film from director Terry Gilliam. The doctor himself (played by 2009 Oscar nominee Christopher Plummer) is part of a traveling carnival troupe who sells trips through his dream mirror in exchange for souls in a long-standing bet with the devil. The first one to five lays claim to the doctor’s only daughter. Ledger plays an amnesiac new member of the group with a gift for tempting new customers behind the looking glass. But the actor’s death forced Gilliam to rework the script to account for various other performers playing the same part (Johnny Depp, Jude Law and Colin Farrell all step up to the plate). Ironically, the last-minute identity switch is one of the more interesting and successful aspects of the film, which stumbles about like a clumsy Fran...

SUBURBIA: As one of the inaugural films in Shout Factory’s “Roger Corman Cult Classics,” this Penelope Spheeris directed punk-rock slice of life just goes to show that Roger’s portfolio was more diversified that you might think. Recruiting genuine street kids and young anarchists (like Flea from the Red Hot Chili Peppers ) to play the roles of…well, street kids and young anarchists… Suburbia reeks of amateurism and heavy handed life lessons. But it also unspools with a tragic honesty and genuine alternative angst that wouldn’t work any other way. You can feel the connection between these kids, driven to live in an L.A. shack by a society that doesn’t have the patience to understand them. Actors could have played the parts with more professionalism, but they wouldn’t have been a fraction as believable. As for a plot, there’s not much of one. The kid’s gang sign (T.R. for The Rejected) turns up at a murder scene and gets them on the wrong side of the law and local residents. Wi...

THE BAD LIEUTENANT: PORT OF CALL NEW ORLEANS - Nicolas Cage has always been the most unlikely of action stars. He’s uglier than Bruce Willis, has a voice more annoying that Sylvester Stallone and weighs about as much as Schwarzennegar’s left pectoral. And don’t even get me started on his hairpiece collection. Yet Con Air transformed his career from an offbeat character specialist to the go-to guy for summer blockbusters like National Treasure. His choices of late, however, have been sketchy to say the least, so it’s good to see him dip a toe back into the water of respectability again with Werner Herzog’s reboot/reimagining/reinvention of Abel Ferrara’s Bad Lieutenant. As Terence McDonagh, an egotistical, manic-depressive, pill-popping, coke-snorting cop who knows how to get things done despite all his obvious handicaps, Cage stumbles onto his best performance in the last ten years. Limping about like a hunchbacked Richard III, the actor revels in the grey area between honorab...