PIRATES Set Sail Again Andy
Reviews The Eagerly Awaited Sequel Plus: Criterions
for July, Milius' ROUGH RIDERS, and More!
Like a cold summer beverage, a trip to the beach on a hot
summer’s day, or an oasis in the middle of a mediocre summer
season that’s seen a needless “Omen” remake and a
“Superman” on anti-depressants, PIRATES OF THE
CARIBBEAN: DEAD MAN’S CHEST (***½) serves up a
much-needed slice of high seas escapism.
Overlong and flawed, director Gore Verbinski’s sequel is
nevertheless a hugely enjoyable romp, fueled by several knockout action
sequences and colorful characters most obviously lead by Johnny
Depp’s eternally sauced pirate Jack Sparrow. The film is
confident, big, bold and plenty of fun -- an element many of this
summer’s blockbusters have completely lacked.
It’s tough to criticize a script that actually tries to do too
much, but original writers Ted Elliott and Terry Rossio here attempt to
develop several plot strands and weave a dozen returning characters
throughout this 150-minute follow-up to the 2003 smash hit. The result
is a story that’s both cluttered and padded, but the good news is
that the duo’s dialogue is still often as sharp as a
scalawag’s knife and the sprawling premise enables not just Depp,
Orlando Bloom and Keira Knightley to reprise their roles from the
original, but also give other supporting characters (like Jack
Davenport’s agreeably disgraced Colonel Norrington and a pair of
Captain Barbossa’s minions played by Lee Arenberg and Mackenzie
Crook) an opportunity to get involved with the story.
Speaking of which, “Dead Man’s Chest” finds
newly-arrived British bureaucrat Cutler Beckett (Tom Hollander)
sentencing poor Elizabeth Swann (Knightley) and her fiancee Will Turner
(Bloom) to prison for their involvement with Depp’s Captain
Sparrow. Unfortunately, while Will is let go under a directive to
retrieve Sparrow’s broken compass, o’l Jack has his own
problems -- namely a debt to Davy Jones (Bill Nighy) himself, who comes
calling out of the depths of the ocean with a crew of damned sailors,
each mutating into a sea creature while serving out their sentences.
Among them is Will’s father “Bootstrap” Turner
(Stellan Skarsgard), who attempts to save his son while Sparrow waivers
between helping out his friends and seizing Davy Jones’ chest for
his own personal gain. If that weren’t enough, the movie also
includes an escape from a tribe of restless natives, the arrival of
Jones’ oceanic beast the Kraken, and a dizzying, sensational
finale on a tropical island that’s both brilliantly edited and
choreographed.
“Dead Man’s Chest” is slow to get going and does
suffer from occasional repetition: the ILM special effects are more
than impressive (particularly the animation of Davy Jones and his
crew), but I wanted to see the Kraken do more than wrap its tentacles
around vessels and slam into crew members over and over. The running
plot of Davy Jones’ lost love is amusing but under-nourished,
with a good amount of pay-off intended to occur in the third film,
which is due out next summer.
Still, if you’re going to end on a cliffhanger, “Dead
Man’s Chest” is the way to do it: use the opportunity to
spring a last-minute surprise on the audience and in such a way that it
promises something we haven't seen before. It ends this installment on
a rousing high note that other movies with open endings (like the
“Lord of the Rings” films and “Back to the Future
Part II”) have failed to match, with the entire audience I was
sitting with cheering at the surprise re-appearance of a character from
its predecessor.
Visually “Dead Man’s Chest” is graced by superb
cinematography by Dariusz Wolski and production design from Tim Burton
alumnus Rick Heinrichs, as well as a rousing Hans Zimmer score.
Reprising all of the themes from its predecessor in a thankfully more
orchestral environment, Zimmer’s music is loud and over-the-top
but works splendidly in the film, with several themes lingering in the
memory long after the credits have rolled (especially his jaunty
Sparrow motif and the central “Pirates” march, which
I’m guessing he and not Klaus Badelt composed as the original
composer receives no credit at all here).
With Depp’s kooky, unpredictable central performance continuing
to hold the film together, “Dead Man’s Chest” is a
stylish, savvy sequel that offers more than enough pirate plunder to
overcome its various deficiencies. Arrr once again, me mateys, Sparrow
saves the day! (PG-13). New On DVD From
Criterion
Criterion’s diverse line-up of July DVDs offers a
Pressburger-Powell classic, a 1978 documentary from Barbet Schroeder,
and a recent film from Edward Yang that was widely embraced by
audiences and critics alike.
The esteemed Archers’ 1944 A CANTERBURY TALE
(***½, 124 mins.) is an offbeat, poetic piece
that’s more Chaucer in spirit than story -- Powell and
Pressburger’s script follows an American sergeant (John Sweet, a
real-life soldier), a young British woman (Sheila Sim), and a gruff
English sergeant (Peter Gibbs) through various adventures in the
almost-ethereal English countryside prior to D-Day. The trio attempt to
solve a bizarre mystery involving a “glue man” who has been
tormenting local girls, but “A Canterbury Tale” is far more
about the journey than the destination, with gorgeous black-and-white
cinematography preserving the idyllic Kent locales and ranking as some
of Powell and Pressburger’s finest, low-key work in the process.
Criterion’s double-disc DVD edition offers running commentary
from author Ian Christie as well as unnecessary footage shot for the
U.S. version with Kim Hunter as Sweet’s wife; a new
high-definition transfer; an interview with Sheila Sim; a 2001
documentary about Sgt. Sweet by Nick Burton and Eddie McMillan; David
Thompson’s enjoyable travelogue “A Canterbury Tale”;
a 1942 Humphrey Jennings documentary “Listen to Britain”
and a similarly-titled 2001 museum piece by artist Victor Burgin. Fine
liner notes from Sweet, Graham Fuller and Peter von Bagh round out
another immense package that’s a must for all Archers aficionados.
Barbet Schroeder’s 1978 documentary KOKO: A TALKING
GORILLA (***, 80 mins.), shot by Nestor Almendros, follows
Stanford’s Dr. Penny Patterson as she attempts to teach sign
language to a primate on loan from the San Fransisco Zoo.
Schroeder’s piece is a notch better than a solid PBS documentary,
giving the viewer the appropriate “you are there” kind of
feel, and raises all sorts of ethical questions about the rights of
Koko at the same time it illustrates the capacity of her to
communicate. Certainly the work of Dr. Patterson and the awareness that
Koko has raised through their foundation has furthered the importance
of conservation and the survival of these beautiful animals, with Koko
herself celebrating her 35th birthday just last week!
Criterion’s DVD is somewhat light on supplements, offering only
an interview with Schroeder, a full-screen remastered transfer
supervised by the director, and liner notes from Gary Indiana and
Marguerite Duras. It would have been interesting to read comments from
Dr. Patterson, but with so many other documentaries available about
Koko and copious information available on their website (www.koko.org),
perhaps the need for supplements along those lines was lessened.
Finally, Taiwan filmmaker Edward Yang’s YI YI (***½,
2000, 173 mins.) is a beautifully-rendered tale of a middle
class Taipei family’s trials and tribulations, following various
members of a modern clan through assorted hardships and life-changing
moments. Criterion’s deluxe, single-DVD edition includes
commentary from Yang and critic-author Tony Rayns; a new interview with
Rayns about the “New Taiwan Cinema movement”; an essay from
Kent Jones, notes from the director, and a remastered 1.85 (16:9)
transfer with 2.0 Dolby Surround stereo. Highly recommended! New From Anchor Bay
The three latest MASTERS OF HORROR
DVDs from Anchor Bay prove to be, on balance at least, a general
improvement on the previous entries in the horror cable-DVD anthology
series.
John Landis’ outrageous “Deer
Woman” (57 mins., 2005) is one such effort, with
disgruntled cop Brian Benben sent to investigate a series of brutal
murders -- the victims of which were all last seen with an alluring
Native American woman (Cinthia Moura) who may indeed know more than
she’s letting on.
Landis scripted this effort with his son, Max, and brought long-time
friend and colleague Peter Bernstein along to score the episode as
well. “Deer Woman” isn’t trying to be high art -- it
delivers exactly what the filmmaker intended, which is an outrageous,
almost E.C.-like story told with humor and plenty of gore.
Benben’s dry delivery gives the story some much-needed levity as
well, thereby making it easily one of the better “Masters of
Horror” episodes to date.
Filmmaker Lucky McKee’s “Sick
Girl” (60 mins., 2005) may come across as a mix of
“Creepshow” and “Mimic,” with entomologist
Angela Bettis falling for a quirky, quiet girl (Erin Brown, apparently
also an “erotic scream queen” named Misty Mundae) at the
same time she receives a new insect as a gift...and an agenda of its
own.
A few completely over-the-top effects at the end save the somewhat
prolonged episode -- something that cannot be said for Joe
Dante’s disappointing effort “Homecoming”
(2005, 59 mins.), an obvious and heavy-handed diatribe against
the Bush administration with a collection of slain soldiers rising from
the grave...in time to participate in the November elections!
Despite its bleeding heart politics (in more ways than one), the
central concept of “Homecoming” sounds like it might be
fun, but writer Sam Hamm (adapting a Dale Bailey story) and Dante lay
the sarcasm on thick, resulting in a show that never quite fulfills its
potential. A few gags do work, and Dante fans will enjoy seeing some of
his “company” favorites (like Robert Picardo) together
again, despite the episode’s shortcomings.
All three “Masters of Horror” DVDs are packed with extras,
including commentaries, copious interviews, DVD-ROM goodies including
the episodes’ respective scripts, 16:9 (1.78) transfers and 5.1
Dolby Digital soundtracks. Likely worth a rental instead of a purchase,
though that’s still a step up from some of the weaker MOH entries
that Anchor Bay first issued on DVD earlier this year.
Also new to the label’s eclectic library are a superb Special
Edition -- in that glossy “Steelbook” packaging DVD fans
have grown to love, especially overseas -- of director Geoff
Murphy’s 1985 New Zealand drama THE QUIET EARTH
(**½, 91 mins., R). The late Bruno Lawrence stars here as
a scientist who believes he may be the last person on the planet after
waking up to find himself the only living being, though he eventually
meets a pair of others (Alison Routledge, Peter Smith) on the suddenly
barren landscape that Earth has become.
Bill Baer, Lawrence and producer Sam Pillsbury scripted this adaptation
of Craig Harrison’s novel, which works best in its introductory
half-hour, with Lawrence in the company of he and he alone. When the
two supporting characters are introduced, most of the picture’s
magic dissipates until Murphy and the writers end with a memorable,
open-ended conclusion -- the image of which was stunningly used on the
film’s original poster artwork (and recycled here on the
DVD’s case, albeit with new, overly-stylized graphics).
Anchor Bay’s DVD sports commentary from Sam Pillsbury, the
original trailer, eight pages of liner notes, and a satisfying 16:9
(1.85) widescreen transfer with 2.0 Dolby Digital sound. A mixed bag
with a great performance from Lawrence, still worth a recommendation
for its fans.
Finally, Anchor Bay has also dusted off the Tom Selleck 1992 box-office
flop FOLKS!
(*½, 108 mins., PG-13), a supposed “comedy”
that tried to bridge the gap between Alzheimer's and belly laughs.
This re-teaming of writer Robert Klane, director Ted Kotcheff, and
producer Victor Drai tried desperately to recapture the chemistry that
made “Weekend at Bernie’s” a smash hit, but
“Folks!” failed because its premise was simply inane (and
offensive) from the get-go: Selleck plays a stock broker whose mother
(Anne Jackson) becomes ill, forcing him to take care of his
increasingly senile father (Don Ameche). Would-be hilarity fails to
follow after Ameche burns down their Florida home and both parents
suggest that Selleck instigate a few “accidents” that would
ease the burden of him needing to take care of them.
“Folks!” does have a couple of laughs along the lines of
“Bernie’s,” but its message -- even if it’s
bizarrely “well intentioned” -- is nearly impossible to
accept, especially if you’ve ever lived through a relative who
has suffered from the disease.
Anchor Bay’s DVD preserves this Cecchi Gori-Penta Pictures
production in 16:9 (1.85) widescreen with 2.0 Dolby Surround, the
original trailer and TV spots. Even “Weekend at Bernie’s 2"
was funnier than this! Warner Home Video
Capsules
DOCTOR WHO:
Genesis of the Daleks (1975, 142 mins) and Revelation of the Daleks
(1985, 89 mins.): Recently issued to coincide with the debut of
the new “Dr. Who” on the Sci-Fi Channel (and its likewise
new DVD release) come these BBC Video compilations, spotlighting two of
the better-known story cycles from the long-running British sci-fi
series. Terry Nation’s “Genesis of the Daleks” offers
one of the more acclaimed tales from the mid ‘70s Tom Baker era
(I always freaked out when I was a child at the opening to the Baker
shows, with the theme music and Baker’s giant head flying around
during the opening credits!), while the shorter “Revelation of
the Daleks” dates from the not-quite-as-fondly remembered Colin
Baker mid ‘80s years. Extras on these two sets are in abundance,
including commentaries on both shows; respective Making Of
documentaries; deleted scenes on “Revelation”;
behind-the-scenes featurettes; even a 1976 “Dr. Who Annual”
(on the “Genesis” disc, in PC-ROM format) and more. Even
more, “Revelation of the Daleks” includes the option of
hearing the music (with its incidental scoring by Roger Limb) on an
isolated audio track! Superbly produced and highly recommended for Dr.
Who fans, with the supplements being just as much fun as the shows
themselves.
THE SACKETTS
(1979, 193 mins., Warner): Epic 1979 TV western mini-series with
Sam Elliott, Tom Selleck, and Jeff Osterhage as three members of the
Sackett clan, trying to make a name for themselves in New Mexico
territory. The performances of Selleck, Elliott, and a cast filled with
veterans (Glenn Ford, Ben Johnson, Jack Elam, L.Q. Jones, Slim Pickins
among them) makes this somewhat slow-moving ride well worth the
journey, though John Vernon’s menace borders on comical and the
somewhat modest budget does become evident here and there. Still worth
a view for sagebrush aficionados, with Warner’s double-disc DVD
set offering a retrospective featurette with Jeff Osterhage and writer
Jim Byrnes, who adapted a pair of Louis L’Amour novels for this
NBC production. The full-screen transfer and mono sound are both fine,
the latter containing a score by “Knots Landing” composer
Jerrod Immel.
THE ROUGH
RIDERS (1997, 184 mins., Warner): John Milius directed and
co-wrote (with Hugh Wilson) this superb, two-part TNT mini-series
following the adventures of Teddy Roosevelt (Tom Berenger) and the
Rough Riders in the Spanish-American War. Numerous familiar faces from
past Milius works (Gary Busey, William Katt, Brad Johnson, Brian
Keith), a rousing score by Peter Bernstein (with a main theme
contributed by father Elmer), and an amiable script that deftly
balances history with Milius’ machismo action makes for a highly
satisfying production that Warner has perfectly brought to DVD. A
commentary with Milius and producer William J. MacDonald is offered on
the supplemental side, while the full-screen transfer and 2.0 Dolby
Digital surround mix are both top-notch. Highly recommended!
PINKY AND THE
BRAIN: Volume 1 (471 mins., Warner) ANIMANIACS:
Volume 1 (550 mins., Warner): One of my lasting memories about
freshman year in college was driving from Ithaca to Elmira, New York,
and being forced to listen to the 25-minute “Animaniacs”
soundtrack -- repeatedly -- for the 90-minute or so ride...BOTH ways!
(No wonder I transferred out of there a few months later!).
At any rate, I only mention that anecdote because, on July 25th, both
“Animaniacs” and its spin-off “Pinky and the
Brain” make their proper box-set debuts on DVD. Each set offers
roughly 500 minutes of Warner TV animation from the mid ‘90s, in
a pair of series produced by Steven Spielberg’s Amblin
Entertainment that tried (and more or less succeeded) in recapturing
some of the manic energy and in-jokes from the golden days of the
Looney Tunes era (“Animaniacs” in particular).
If you’re a fan of either series, these two respective box sets
are great fun indeed, with Warner’s full-screen transfers and
5.1/2.0 Dolby Digital soundtracks being highly satisfying. Extras,
meanwhile, range from voice artist interviews (on “Pinky”)
to even a goofy chat with Animaniac pals “via satellite” on
the “Animanics” release. Packaging is on-par with the
Looney Tunes “Golden Age” sets and comes strongly
recommended for fans of either show, though you can’t blame me if
I never want to hear the “Animaniacs” theme again! NEXT
TIME: New Releases From Tartan, Sony and
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