Ever since his 1983 self-titled breakthrough album, “Weird Al” Yankovic has been unsurpassed as a proven purveyor of parody. His classic film UHF, a string of Grammy awards
Becky Sharp is “poor and put-upon.” She’s also “a sharp little minx,” a “treacherous little trollop,” and “a heartless mother and faithless wife.” Yes, there’s something about Becky in this impeccable BBC production based on William Makepeace Thackeray’s classic novel. It speaks volumes about Thackeray’s indomitable heroine and Natasha Little’s seductively ingratiating performance that our hearts go out to her even as we eagerly await her comeuppance.
Becky is scorned for her lack of breeding, but as one admirer notes, “she’s got pluck.” Poised to begin her new job as a governess, Becky’s calculated social climbing begins in the home of her friend, the naive Amelia Sedley (Frances Grey), whose father is a wealthy merchant. She immediately makes a play for Amelia’s doofus brother, but their budding romance is sabotaged by Amelia’s fiance George Osborne (Tom Ward), an “interfering, officious snob” who doesn’t fancy a governess for a sister-in-law. And so it’s out into the world, where Becky works her wiles on a gallery of memorable characters, including her lecherous new employer Sir Pitt; his imperious rich sister Miss Crawley (Miriam Margolyes), who takes Becky under her wing; and Pitt’s dashing son Rawdon (Nathanial Perker), the first of Becky’s misguided sexual entanglements.
Vanity Fair charts in lavish detail Becky’s rise in London society and her scandalous downfall. Her story is counterpoint to that of the fair Amelia, who is cluless that her husband is a rake and that his best friend, the loyal, long-suffering Dobbin (Philip Glenistar), is in love with her and is her secret benefactor when times get bad for her bankrupt father. Adapted for the screen by Andrew Davies, who did the honors for the phenomenally successful Pride and Prejudice, Vanity Fair is another addictive miniseries that is the video equivalent of a compulsive page-turner. As yet another fancier remarks, “Well done, Becky Sharp.” –Donald Liebenson
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One of the very best films about the Civil War, this instant classic from 1989 is also one of the few films to depict the participation of African American soldiers in Civil War combat. Based in part on the books Lay This Laurel by Lincoln Kirstein and One Gallant Rush by Peter Burchard, the film also draws from the letters of Robert Gould Shaw (played by Matthew Broderick), the 25-year-old son of Boston abolitionists who volunteered to command the all-black 54th Regiment of the Massachusetts Volunteer Infantry. Their training and battle experience leads them to their final assault on Fort Wagner in South Carolina, where their heroic bravery turned bitter defeat into a symbolic victory that brought recognition to black soldiers and turned the tide of the war. With painstaking attention to historical detail and richness of character, the film boasts superior performances by Denzel Washington (who won the Oscar for Best Supporting Actor), Morgan Freeman, Cary Elwes, and Andre Braugher. Directed by Edward Zwick (co-creator of the TV series thirtysomething), this unforgettable drama is as important as Schindler’s List in its treatment of a noble yet little-known episode of history. –Jeff Shannon
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This 1968 production from Andy Warhol’s Factory found director Paul Morrissey still defining his style and particularly open to Warhol’s own process of shooting extended takes with minimal editing. Factory star Joe Dallesandro plays a hustler working to earn money for his wife’s girlfriend’s abortion. The long trail of transvestites, drugs, and debauchery doesn’t just drag a viewer down but rather adds up to a kind of transcendent curiosity about itself. Intelligent, well-constructed, and at times lyrical, this is one of the best of the Morrissey-Warhol collaborations. The cast includes a couple of actors in Warhol’s orbit who later broke into mainstream movies and television, including Patti D’Arbanville. –Tom Keogh
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“Beware of the Blob!” One of the great cult classics, The Blob melds ’50s schlock sci-fi and teen delinquncy pics even as it transcends these genres with strong performances and ingenious special effects. Made outside of Hollywood by a maverick film distributor, a crew experienced in religious and educational shorts, and a collection of theatrical talent from Philadelphia and New York, The Blob helped launch the careers of superstud Steve McQUn and composer Burt Bacharach.
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The rugged but properly G-rated Man and Boy gives Bill Cosby (as producer and star) an impressive showcase in a rare dramatic role. Cosby’s just right as a former cowboy and Union Army “blu-belly” who, in 1871, must defend his Arizona homestead against resentful white bigots. When his plow horse is stolen, he sets out to retrieve the animal with his 12-year-old son (played by George Spell, one of the finest child actors of the early ’70s), and their desert ordeal places them in the crossfire of a long-standing feud between a crazed thief and a vengeful sheriff. The routine plot plays like a Western rehash of The Bicycle Thief, and veteran TV director E.W. Swackhamer handles the action with a generic absence of style. Cosby and Spell make a terrific father-son team, however, while costars Yaphet Kotto and Henry Silva add another element of threat. Solid family entertainment, especially if you’re ready to explain horse studding to your children. –Jeff Shannon
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Based on a novel by Dick King-Smith, author of The Sheep Pig (from which Babe was adapted), the touching and often spectacular The Water Horse: Legend of the Deep ingeniously presumes to explain the truth behind “Nessie,” i.e., the Loch Ness Monster. The story, told in present day to a couple of American tourists by a kindly gentleman (Brian Cox) in a pub, begins with a lonely boy, Angus (Alex Etel), pining for his father, who is serving in the Royal Navy during World War II. Angus, along with his sister (Priyanka Xi) and mother (Emily Watson), live on an estate that has been billeted by soldiers in the Scottish Highlands, near Loch Ness. The troop’s commander (David Morissey) has an eye for mom, suspicions about a mysterious handyman, Lewis (Ben Chaplin), who is also a war hero, and an absurd contention that the Highlands are the real frontline in the war against Germany.
Into this intriguing drama comes a completely different element, a fantastical creature of Celtic mythology that befriends Angus and is, in fact, the sea-beast who will eventually be known as the Loch Ness Monster. Trying to hide the dinosaur-like fellow, nicknamed Crusoe, Angus enlists Lewis to transfer it to the lake, where boy and serpent have extraordinary adventures together until human stupidity threatens Crusoe’s existence. A tru family film, there is a lot for adults to like about the grownup story in The Water Horse. Meanwhile, the wistful relationship between Angus and Crusoe–each of whom helps the other move past obstacles toward their individual destinies–will leave children feeling both happy and melancholy in the best possible sense. Directed by Jay Russell (My Dog Skip), The Water Horse is the best of a mini-genre of films about or inspired by old Nessie. –Tom Keogh
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| Two-Disc Special Edition | Paperback Novel | CD Soundtrack |
Stills from The Water Horse: Legend of the Deep (click for larger image)
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Although it received mixed reactions from critics and audiences alike when released in 1998, this supernatural thriller benefits from a sustained atmosphere of anticipation and dread, and its combination of detective mystery and demonic mischief is handled with ample style and intelligence. Under the direction of Gregory Hoblit (who fared better with Primal Fear), Denzel Washington plays detective John Hobbes, who witnesses the gas-chamber execution of a serial killer (Elias Koteas). But when another series of murders begins, Hobbes suspects that the killer’s evil spirit has survived and is possessing the bodies of others to do its evil bidding. Even Hobbes’s trusted partner (John Goodman) thinks the detective is losing his grip on reality, but the dire warnings of a noted linguist (Embeth Davidtz) confirm Hobbes’s far-out theory, and his case intensifies toward a fateful showdown. Although its idea is better than its execution, and the story’s film noir ambitions are never fully accomplished, this slickly directed thriller has some genuinely effective moments in which evil forces are entwined into the fabric of everyday reality. Among the highlights is a memorable scene in which Detective Hobbes must track the killer as the evil spirit is transferred between many people via physical contact. Even if the film is ultimately less than the sum of its parts, it’s an intriguing hybrid that resides in the same cinematic neighborhood as Seven and The Silence of the Lambs with a cast that also includes Donald Sutherland and James Gandolfini. Included on the DVD is a full-length audio commentary by director Hoblit, screenwriter Nicholas Kazan, and producer Charles Roven. –Jeff Shannon
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The plot of Failure to Launch is utterly implausible, yet the movie is thoroughly fun. Tripp (laid-back Matthew McConaughey, Sahara, Dazed and Confused) is a 35-year-old man who still lives with his parents (Kathy Bates, Misery, and ex-quarterback Terry Bradshaw)–and they aren’t happy about it. Eager to get him out of the nest, they hire Paula (Sex and the City’s Sarah Jessica Parker), a professional motivator who feigns relationships with boy-men so that their improved self-esteem will lead them to leave the nest. But Tripp’s not the usual insecure shut-in Paula’s used to, and as sparks fly, Paula finds herself losing her professional distance. This sort of set-up drove classic screwball comedies of the 1930s and 40s; once you embrace the absurdity, the movie zips along with a surprising balance of humor and bittersweet shadings. Failure to Launch gets a huge boost from the supporting performance of Zooey Deschanel (Elf) as Paula’s housemate Kit–part sourpuss, part tomboy, and entirely sexy and winning. McConaughey and Parker have enjoyable chemistry and carry the movie well, but Deschanel is an oddball romantic-heroine-in-waiting. Also featuring Bradley Cooper (Alias) and Justin Bartha (National Treasure). –Bret Fetzer
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This Jack Black vehicle seems, on the surface, like a perfect fit for the actor: an opportunity to showcase Black’s uniqu style with the extreme facial gestures and exuberant physicality that have become his forte. Black plays Ignacio, a lowly cook in a monastery in central Mexico who feeds orphans by day, and wrestles in the town square at night. Ignacio teams up with Esquleto (Hector Jimenez), a street urchin who tormented him, to form a tag-team duo that goes up against the strangest wrestlers Mexico has to offer. Besides doing it for money to feed the orphans, Ignacio is also fighting to win the forbidden affections of Sister Encarnacion (Ana de la Regura) with predictable difficulty. While the movie has likeable characters and the plot is enjoyable enough, it can’t overcome its plodding pace and formulaic structure enough to keep the movie interesting throughout. Jack Black is a very strong comedic actor, and the wrestling scenes offer plenty of chances for slapstick, physical comedy, but watching him run around in red briefs and blu tights amounts to half the laughs in the movie, and there’s just not enough here for him to really work with. When he plays a more well-formed character, as in School of Rock and High Fidelity, his strengths really show. But in Nacho Libre he’s saddled with a caricature. Weighed down by too much low-brow humor and a script that goes nowhere, Nacho Libre just can’t make full enough use of Black’s talents to overcome the obstacles. –Daniel Vancini
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