Week of 26 January 2009
The Fan *** (Stars George Sanders, Madeleine Carroll, Jeanne Crain; £12.99; UK cert PG) Otto Preminger’s melodramatic take on Lady Windermere’s Fan may pare down its original biting witticisms a tad, but by no means does it compromise the zest with which the playwright mocked blatant double standards in Victorian high society. Framing Wilde’s shrewd observation with a look at two characters in "London today", Preminger intended The Fan for a contemporary 1940s audience, but even now its scandalous themes of jealousy and female rivalry give the Mean Girls’ of societal commentary a run for their money. The Fan sees elderly "adventuress" Mrs Erlynne reunited with old-timer Lord Darlington on the discovery of a long forgotten fan. As the pair reminisce its origins, we are transported back to the decadent realms of their youth to discover each individual’s complex relation with seemingly content young couple, Lord and Lady Windermere. Theatrical flourishes abound, and while the flamboyantly highly-strung episodes of the charmed elite are oddly captivating, performances from the couple in question are rather dull (although by no means as wooden as punctuating appearances from their "help"). In contrast, our rejected storytellers sparkle in respective roles; Carroll’s feisty socialite Mrs Erlynne is nothing short of mesmerising. A well-hidden gem, The Fan pinpoints the ridiculous and insufferable in Victorian high society, and indeed modern civilisation, with a similarly droll accuracy to Wilde. Extras: Lady Windermere’s Fan, Fred Paul’s 1916 silent version of Wilde’s play; plus an Illustrated booklet featuring film essays and a biography of Oscar Wilde. — Rebecca Gordon
Trailer Park of Terror *** (Stars Nichole Hiltz, Tracie Adkins, Priscilla Barnes, Stefanie Black, Steven Goldmann; £12.99; UK cert 18) We haven’t had an Evil Dead-style horror-comedy romp for a long time, let alone a good one. Based on Imperium Comics’ series of the same name, Trailer Park of Terror is blessed with a surprisingly witty script for a straight-to-DVD affair. It’s silly and ghoulish, but knows it. No extras - Rhianna Pratchett. No extras — Rhianna Pratchett
Blackout ** (Stars Aidan Gillen, Amber Tamblyn, Armie Hammer, Katie Stuart, Eloisa Bennetts, Andrew Tarbet; £15.99; UK cert 18) Three people stuck in a lift, all of them with different reasons to want to get out real quick. This semi-horror attempts to build tension and shocks through the premise of confined space and a small (not literally) cast. Aidan Gillen is the bereaved husband and father hoping not to disappoint his daughter, Amber Tamblyn has a grandmother lying in a hospital bed and Armie Hammer wants to elope with his girlfriend and get her away from an abusive father. Shot with a degree of visual flair by director Rigoberto Castaneda, Blackout is too generic to deliver a wholly satisfying performance. In fact, there’s a sleaze and depravity to the violence, which leaves a bitter aftertaste, where there should be horror rooted in humanity and therefore all the more frightening for it. No extras — Robert Hull
Wicked Willie Comes Again ... And Again *** (£5.99; UK cert 15) This is a cartoon show about man and his best friend. Not the kind that goes woof, but the one in his pants. This DVD contains all of Wicked Willie’s adventures, as created by Australian cartoonist Gray Jolliffe and brought to life by Oscar-winner Bob Godfrey. It may sound odd, but it’s wry and funny. Extras: There’s an interview with Joliffe; a Where’s Willie? game; Trivia quiz on, you guessed it, willies; Biographies; Gallery; Early artwork; A featurette for men about checking for signs of cancer; "Willie On The Street", which consists of vox-popping people to get them to talk about, er, Willie; weblinks; and T-shirt designs. — Anne Wollenberg
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Week of 19 January 2009
Scrubs: Season 7 ***½ (Stars Zach Braff, Sarah Chalke, Donald Faison, Judy Reyes, John C. McGinley, Ken Jenkins, Christa Miller, Elizabeth Banks; £25.99; UK cert 12) Seven seasons in, and Scrubs is— fortunately — just as funny as when in began. In fact, possibly more funny, with character familiarity adding that extra layer of warmth along with the mirth. Braff is still the star, although it has to be said that by this stage in the game all the other actors have certainly carved out pretty big niches for themselves - particularly the brilliant McGinley as the hardarsed cynic with a heart of gold, Dr Cox. Although grumpy old chief of medicine Dr Kelso (Jenkins) certainly gives him a run for his money this season, coming to the fore with an ongoing story arc about his being forced into retirement. On the downside, it's a shortened season — just 11 episodes — thanks to the Hollywood writers' strike (so why is this set still full-priced?). And strangely, the final episode seems to be out of order — you'll understand what I mean when you see it. Small grumbles aside, though, Scrubs is still one of the best comedies coming out of the US today. Extras: audio commentaries on every episode, a gag reel, deleted scenes and alternate lines, a making-of one of the episodes (My Princess) and an interview with Ken Jenkins, who plays Dr Kelso. — Stuart O'Connor
Kamikaze Girls **** (Stars Kyôko Fukada, Anna Tsuchiya, Hiroyuki Miyasako, Sadao Abe, Eiko Koike, Shin Yazawa; £14.99; UK cert 12) Nobody does comedy quite like the Japanese. Momoko (Fukada) is a nice, everyday Japanese girl who just happens to be obsessed with the French Rococo period, to the extent that she wears elaborate Lolita dresses from the era. But she's shaken out of her safe, dream-filled life when she meets and strikes up a friendship with Ichigo (Tsuchiya), the tough and rebellious member of "Yanki" biker gang. Well, scooter gang, really, cos that's what they ride. It's a strange but sweetly absorbing film, full of laughs, action and pretty girls. Director Tetsuya Nakashima has been compared to Tim Burton, and it's easy to see why. Extras: Interviews with the two gorgeous leads (Fukada and Tsuchiya) and some trailers. — Stuart O'Connor
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Week of 12 January 2009
Standard Operating Procedure *** (Stars Lynndie England, Sabrina Harmon, Janis Karpinski, Javal Davis, Brent Pack; £19.99; UK cert 15) Errol Morris is a filmmaker of some renown: the Guardian newspaper regards him as one of the ten most important film directors in the world, while his 2003 film The Fog of War, about former US Secretary of Defense Robert McNamara won an Oscar for Best Documentary Feature. This full-length production is an evocative, and at times very unsettling look at the incidents at Abu Ghraib prison in Baghdad, which became infamous around the world because of the photographs taken by US army personnel of the torture and humiliation of Iraqi inmates. Morris’s movie is intricately devised, with recreations skillfully and artfully staged, while his camera never flinches during the one-to-one interviews with many of the soldiers and investigators involved. Extras: director's commentary, additional scenes and trailers. — Robert Hull
The Garbage Warrior **** (Stars Michael Reynolds; £12.99; UK cert 15) Described by one of his own “crew” members as a “thumb in the butt of reality”, Michael Reynolds has spent the past 35 years researching and building sustainable housing in the US, and beyond. Easily mistaken for a crazy old aging hippy, Mike is obsessed with renewable energy, global warming, and, as the title suggests, garbage. What undoubtedly started as a quest to live free from bills, council tax or construction fees, Mike is responsible for the design and build of eco communities dotted in destitute areas of America. With a crew of picked-up vagabonds and ne'r-do-wells, he sets out to provide a handful of happy — and some not-so-happy — guinea pigs the chance to live within walls of compacted water bottles or old tyres, without heating or flushing toilets. For the first half an hour one watches this mad old fool with wary suspicion. But then he bumps up against the American legal system while trying to pass a bill enabling him to continue his research into eco-friendly housing in the light of global warming, and one's vision and compassion shifts. Reaching as high as the restraints imposed by the Republican Bush administration — laying comfortably and unmovingly in bed with fossil fuel companies — Mike’s low sees him lose his architectural licence, battle lawsuits, and strike out against politics… which only make the highs all the more worth it — including making an immeasurable difference to communities in India and Mexico following natural disasters. This plight of a man “obsessed" is enlightening, entertaining and educational. No Extras — Jo Wood
Apparitions ***½ (Stars Martin Shaw, Rick Warden, Siobhan Finneran, John Shrapnel, Luigi Diberti, Shaun Dooley, Michelle Joseph; £29.99; UK cert 15) This half-gem of a mini-TV series appeared without too much fuss back in November 2008 on BBC2. It’s a shame more wasn’t made of it, as it blends elements of crime, horror and procedural to great effect. Martin Shaw is Father Jacob, a devout Catholic priest with more than just a sideline in exorcism – it appears he’s the only guy willing and able to take on Satan! Strong performances, especially from Rick Warden as the conflicted Michael, and the sensible choice to avoid too many special effects make this six-episode package well worth a look. Extras: Interviews with Martin Shaw, the show’s writer/director Joe Ahearne and producer Caroline Levy plus a Behind the Scenes feature focusing on stunts and prosthetics. — Robert Hull
Viva Maria ***½ (Stars Brigitte Bardot, Jeanne Moreau, Paulette Dubost, Claudio Brook, Carlos López Moctezuma, Poldo Bendandi; £15.99; UK cert 12) So very quietly amusing, one would almost be forgiven for missing the deadly dry, deadpan humour that veins its way through this delightful movie. Although it runs too long at just under two hours, the length gives the viewer time enough to fall madly in love with its heroines, Marie and Marie, played marvellously by Bardot and Moreau. Decades before its time, the film explores the trials of two women who accidentally happen upon each other, strike up a formidable partnership, and harness power and respect in a way women could only have dreamt of in 1968. Born to a father obsessed with explosions and firearms, Bardot, then orphaned, haplessly arrives upon Moreau, who takes her under her wing and teaches her the art of ‘performance’ as part of a travelling circus. Performing accidentally becomes striptease, and life is sweet for the beautiful duo. However, on falling in ‘love’ with a revolutionary, Moreau is eventually gripped by the desire to join the Mexican revolution, where Bardot’s prowess in war and obsession with artillery becomes at last a necessity for survival. The original Thelma and Louise, this is perfect Sunday afternoon viewing. No Extras — Jo Wood
The Honey Pot *** (Stars Rex Harrison, Cliff Robertson, Capucine, Susan Hayward, Edie Adams, Maggie Smith, Adolfo Celi, Hugh Manning; £15.99; UK cert PG) Old-fashioned moviemaking this may be – it was shot in the 1960s but comes on like a 50s Technicolor production – yet it’s an absolute hoot. Forget any pretence towards naturalistic performance, this is all about mugging for the camera. It’s got real heritage though, with director Joseph L Mankiewicz’s bagging an Oscar for writing Citizen Kane and with Guys & Dolls, and The Quiet American on his directorial CV. Rex Harrison plays Cecil Fox, international playboy and cheeky monkey, who pretends he’s dying to find out what his three former lovers will do with the news. Hiring William McFly (Robertson), an actor, to be his secretary, he sets about having his fun – only for events to take a distinctly less comic turn when farce turns into murder mystery. Stirringly good Sunday afternoon fare. Extras: Just the trailer. — Robert Hull
Rosebud ½ (Stars Peter O'Toole, Richard Attenborough, Cliff Gorman, Kim Cattrall, Claude Dauphin, John Lindsay, Peter Lawford; £15.99; UK cert 15) 121 minutes. 121 goddamn minutes of your life which you’ll never get back. What was director Otto Preminger thinking? To take such an interesting political conflict and turn it into the most wooden and laborious experience must have taken quite some doing. Extraordinarily, he can’t even blame the casting, bagging biggies such as O’Toole, Attenborough, and even a young Cattrall. Unfortunately the young talent was not yet seasoned enough to give us even a glimmer of an interesting performance, with the notable exception of "secret agent" O’Toole, whose humour and natural delivery – even with a diabolical script – kept one from, well, throwing oneself off the nearest skyrise. Five young girls are kidnapped on Jewish millionaire’s luxury boat Rosebud by a Palestinian terrorist group, who start making all kinds of boring demands in an unextraordinary manner. While O’Toole sets out to be our Milk Tray hero, even the interesting inclusion of an English Muslim convert, played unconvincingly by Attenborough, couldn’t spice things up. At one point, what would otherwise have been an interesting monologue about O’Toole’s past agent endeavours, is actually read from a piece of paper over several minutes. Painstakingly lengthy scenes are executed with breathtaking monotony and lacklustre, as one hobbles to the finish line without a whisper of suspense or care. Not one for the DVD library. Extras: The weirdest and least exciting trailer I've ever seen. — Jo Wood
Joe ** (Stars Dennis Patrick, Peter Boyle, Susan Sarandon, Patrick McDermott, Audrey Caire, K. Callan; £15.99; UK cert 18) This quirky 1970 curio marks the film debut of the marvellous Susan Sarandon. Here, she plays Melissa, a free-spirited young woman whose relationship with her drug-dealing lover, Frank (McDermott), is causing detachment from her very traditional father and mother. Melissa’s father, Bill, (Patrick) accidentally kills Frank during an argument and, in shock, heads into a bar frequented by the loudmouth bigot Joe (Boyle). The two men bond over what they see as the failure of the American Dream – they’re no hippy lovers, that’s for sure – and end up trying to track down Melissa when she runs away and joins a commune. Earning an Oscar nomination for Best Screenplay, Joe is no easy watch but it provides more than just nostalgia value, giving an insight into the mindset of filmmakers on the edge of a more daring age of American cinema: prior to the arrival of Scorsese, Coppola and Altman. No extras — Robert Hull
Sakuran ***½ (Stars Anna Tsuchiya, Kippei Shiina, Yoshino Kimura, Hiroki Narimiya, Miho Kanno, Masatoshi Nagase; £17.99; UK cert 15) Director Mika Ninagawa – with her first movie – serves up an 18th century tale that has all the visual trickery of a modern-day pop promo. Sakuran is a great movie to look at, rich with colours and textures, and beautifully photographed. It’s the work of a director who likes quirks and motifs in a movie – and it’s all the more satisfying for that. Kiyoha (Tsuchiya) is a free-spirited girl sold into a brothel in a notorious nightlife area. It is a competitive world but Kiyoha rises through the ranks to become Higurashi – the preeminent Geisha of the brothel. Her journey is all about control and being in charge, not merely as a plaything for her clients. Adapted from the Manga comic series by Moyoco Anno, Sakuran is style, substance and spirit wrapped up into an enjoyable 111 minutes. No extras — Robert Hull
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Week of 5 January 2009
Tunnel Rats ** (Stars Michael Paré, Wilson Bethel, Adrian Collins, Scott Cooper, Mitch Eakins, Erik Eidem; £15.99; UK cert 18) Yet another "war is futle" film, this one set in Vietnam in 1968. It's a noble endeavour, but in the hands of schlockmeister Uwe Boll (is he the worst filmmaker working today?), it's a couple of hours of cheesy dialogue, bad acting and loads of gore. The films follows a group of new US Army recruits trained to infiltrate the Viet Cong’s tunnel network. It's got clichés galore, poor characterisation and ham-fisted direction, and as such is a film only for Boll fans - if he actually has any. Extras: an interview with producer/writer/director Uwe Boll; a behind-the-scenes featurette; outtakes; and the theatrical trailer. — Stuart O'Connor