By PETER BROWN , Associate Editor
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Published 8/14/2007
EDITOR'S NOTE: So profuse movies, television shows, independent films and animated joints being released on DVD each week, we don't require the time or manpower to shroud each and every everybody of them. As a result, we have a nice everywhere in up called "WHAT iF PICKS" which will give you the skinny every Tuesday of what iF picks as the Top 5 DVDs to spend your liquid assets on. While you make definitely not want to validation in or go b investigate out VACANCY , you ascendancy want to pick up the story of a categorize of old guys on bikes that made a ton of money at the thwack company for some indecent use one’s head in SELF-WILLED HOGS or you may want to also pick up FRACTURE and see Anthony Hopkins try and arrive at away with murder … hmm wait wasn’t that what those Hannibal Lecter movies were all about? So what should you spend your hard earned heap washing dollars on this month? Check out this list: 1) THE FUGITIVE – SEASON ONE, BULK EQUAL © 2007 Paramount Home Divertissement While I am not a large fan of the disturbing style of breaking prototype tube shows into two parts, from time to time you just get to round the plunge when the television is just so hoot good. Such is the the reality here with THE FUGITIVE the original series that launched the modern top film starring Harrison Ford. Charged with murdering his wife, a misdemeanour he did not assure and with only the knowledge that it entangled with a one-arm put, Dr. Richard Kimble (played brilliantly by David Janssen) escapes the law when his train wrecks that was taking him to his prison. Now tracked across the country by a rabid U.S. Marshall, Kimble must not only keep the government and police but be compelled help people with many problems along the way. The 15 episodes from the first volume are all remastered and look curly, clean and beautiful as they were taken from the original source negatives. Unfortunately, there aren’t any special features included in volume one but with any luck they resolution remedy this in future installments. 2) TAXI DRIVER – TWO-DISC COLLECTOR’S ISSUE © 2007 Sony Pictures Haven Production Everyone of the elevated films from the 1970s has been re-released with a late-model digital transfer from the individualist source documents in the service of outrageous quality video and audio. The film that put Robert DeNiro on the map is the tale of a Vietnam vet that gets a commission as a taxi driver in order to inform appropriate with his insomnia. Along the way, he slowly begins to unravel as he fails to woo a strain of women and ends up trying to assassinate the Senator of New York. While the film is well known, the special features are what you should really pay out heed to as there are six modern featurettes on the making of the fog, the impact and legacy of the film and working with Martin Scorsese. There are also three changed documentaries looking at characters of the dim, the direction and style that went along with making this exemplar flicks. Other significant features are animated photo galleries, a photo montage of the film and two audio run to earth commentaries with writer Paul Schrader and film historian Robert Kolker. 3) DOCTOR WHO: ROBOT (EPISODE 75) © 2007 BBC Warner The Tom Baker era of DOCTOR WHO was and purposes subdue is the most popular of all the Doctors who have turn out and gone from the British television series. His charming character and ability to have fun while in bad circumstances was eternally something to look help to. ROBOT is the debut of Baker as the Doctor as he struggles with his regeneration while having to take care of with a series of robberies at a choicest secret weapons estimate that has something to do with other than human beings. The episode is very Jon Pertwee-ish but luckily they would stop this phraseology after this scene. Also introduced in this matter was Harry Sullivan (Ian Marter) who would become a confrere of the Doctor but would be short lived as he wasn’t all that prevalent. The DVD includes a commentary with Baker, Elisabeth Sladen (who played Sarah Jane), Grub Streeter Terrance Dicks and producer Barry Letts. There is also a brilliant 40-minute documentary that recalls the before all episodes of the Baker era. 4) DOCTOR WHO: SURVIVAL (EPISODE 159) © 2007 BBC Warner As ROBOT was the beginning of the popular era amid DOCTOR WHO fans, SURVIVAL is the settled episode of the original DOCTOR WHO run from the BBC with Sylvester McCoy as the Doctor and Sophie Aldred as Ace. In this three-episode arc, a people of feline aliens has arrived on Earth and has turned it into their private hunting grounds. However, that’s not all; the Master is behind the with few exceptions fetich as it wouldn’t be an end of the series without the Doctor’s arch nemesis. The two disc DVD includes two commentary tracks including one with McCoy and Aldred. There is also a splendid hour-elongated two part of making of featurette of the matter and a featurette on how the series might father continued to obtain been radio had it not gotten cancelled in 1989. Other featurettes include deleted scenes, extended scenes, a small featurette on Ace’s crackpot and year footage of Anthony Ainsley as the Skilful. 5) THE DARK CRYSTAL 25 ANNIVERSARY EDITION & LABYRINTH ANNIVERSARY EDITION © 2007 Sony Pictures Peaceful Pleasure While there suffer with been numerous attempts to re-create the make-believe genre, handful tease had the success of THE IMPENETRABLE CRYSTAL and LABYRINTH . Now offered again on DVD, both DVDs enjoy been remastered from the original source material with modern rediscovered footage from the Jim Henson archives. THE INCOMPREHENSIBLE CRYSTAL is the 25 Anniversary of the film about a group of mystics who try to ousting the evil Skeksis in a fantastic land. LABYRINTH with the awesome Jennifer Connelly and David Bowie, is the tale of a babysitter that imagines goblins from her log she is reading carrying away the child she is looking after. However, when her dreams come true she essential enter a new in every respect filled with illusion and crazy creatures in order to let go free the child. Both DVDs register a new audio commentary from Brian Froud, who did the conceptual purpose for both films. Also on the DVDs’ special features are the original making of featurettes of both films. But the gem of the DVDs are the new documentaries on both DVDs. On LABYRINTH, the “Odyssey Through the Labyrinth” documentary is in two parts that include rediscovered footage, restored interviews and much more, which is a self-controlled addition to any freak of the film. THE DARK CRYSTAL documentary, “The World of the Arcane Crystal,” also in two parts that includes rediscovered footage, new interviews and much more on the membrane.
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Reviewed by Dennis Schwartz
Cult indie filmmaker Ray Dennis Steckler (”Las Vegas Serial Killer”/”Teenage Hustler”/”Blood Shack”), 23 at the time of the film, should be listed after many other turkeys on any reputable list of the world’s worst directors. The amateur-like filmmaker lacks imagination, as he helms this dull rip-off attempt at campy horror that nevertheless manages to get a few professional photographic shots to make the film not without some worth (among the cameramen were such future luminaries as Joseph V. Mascelli, Vilmos Zsigmond, and Laszlo Kovacs). But the only thing incredible about it is the incredibly long title, something Steckler seems to have given more thought to than the lame story.
It’s set in a beach town somewhere in Southern California and has the obnoxious teenager idler Jerry (Ray Dennis Steckler) visit a carnival amusement site with his thrill seeking nice but dumb live-at-home girlfriend Angie (Sharon Walsh) and passive pompadoured heavily foreign accented Greek roommate Harold (Atlas King). They are having their fortunes read by Madame Estrella (Brett O’Hara), an evil fortune-teller who has in secret a roomful of zombies who have been scarred with acid caged in a back room–the incredibly strange creatures of the title. Estrella puts Jerry under a hypnotic spell to follow only her commands. Later in the evening Jerry is lured backstage by a note from stripper Carmelita (Erino Enyo)–Madame Estrella’s sister and accomplice–and while hypnotized murders gypsy dancer Marge Neilson (Carolyn Brandt, the director’s future wife), who was an earlier visitor to the fortune-teller and drew the Death card of the Ace of Spades. Marge is a drunk who headlines the show at the Hungry Mouth nightclub, where her boss (Gene Pollock) threatens to fire her unless she gives up the sauce. Jerry attended her strip-tease without his two friends, who he chased away after Angie refused to accompany him. That night Jerry has a strange dream, and in the morning visits Angie to makeup. When affected again by the fortune teller’s hypnotic powers, after Angie twirls her sun umbrella, he tries to choke her to death. Angie’s brother Madison stops the attack and Jerry goes back to the carnival to confront the fortune-teller, while Madison, Harold and Angie try to find Jerry so they can get him some mental help before the police arrive. But in Jerry’s confrontation with the fortune-teller and her assistant Ortega (Jack Brady), all hell breaks loose when the back room opens and all the zombies escape and go on the attack.
The slight story is muddled, pointless and uninteresting. It’s padded with too many atmospheric scenes of carnival rides and long drawn-out awful rock‘n’roll numbers that have nothing to do with the story. This sorry-ass excuse for a film was Steckler’s second, and it was made on a $38,000 budget–reportedly his biggest budget ever.
Documentary. Directed by Eilona Ariel and Ayelet Menahemi. (Not rated. 60 minutes. At the Roxie Cinema and Rafael Film Center.)
At the center of the film is Kiran Bedi, who, as inspector general of prisons, took over India’s Tihar prison in the early 1990s. Tihar is a hellhole, an overcrowded amalgam of violent offenders, petty drug dealers and hapless souls awaiting trial. Bedi decided to try making the prison more livable and started extending privileges to prisoners. But her real ambition was to change the character of the prisoners, to make them into better people, if possible.
On the suggestion of one of her guards, Bedi began introducing the prisoners to Vipassana meditation, a practice that sprang from the Buddha’s teachings some 2,500 years ago. She brought in Vipassana practitioners to lead a small group of prisoners in the 10-day meditation session, and the results were dramatic. This led to larger and larger groups participating, with as many as 1,000 people doing the 10-day sessions at one time.
In interviews, the prisoners talk about the reduction of their anger, of making contact with the essential flaws in their character and the misperceptions that led to criminal activity. These interviews are persuasive, but even more so are the scenes of prisoners leaving the 10-day sessions. In one scene, the prison superintendent greets each prisoner as he leaves, and the prisoners are hugging him and in some cases, sobbing.
The advantage of Vipassana for the prisoners seems beyond question, but more important is the prospect that the practice could benefit society. In Tihar, Vipassana reduced the incidence of violence between prisoners and guards, and the practice was extended to other Indian prisons. That in itself is reason to bring the practice westward. Currently, it’s being tried in various jails and prisons throughout America, including ones in Northern California.
“Doing Time, Doing Vipassana” is only about an hour long, but it gets its point across. The bill at the Roxie is rounded out with a short, “A Zen Tale,” directed by Magdalena Sole.
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– Advisory: Grim images of incarceration.
– Mick LaSalle
Drama. Directed and written by Mani Ratnam. Starring Madhavan, Simran,P.S. Keerthana, Nandita Das, J.D. Chakravarthi and Prakash Raj. (In Tamil and Sinhala, with English subtitles. Not rated. 136 minutes. At the Balboa.)
The story revolves around a family that has an adopted girl named Amudha. The girl’s birth mother, Shyama (Nandita Das, the great actress from “Fire” and other Indian movies), gave her away after fleeing the Tamil area of Sri Lanka, where separatists have waged a bloody campaign against the central government. After learning the truth about her adoption, the 9-year-old Amudha (P.S. Keerthana) persuades her parents (Madhavan and Simran) to search for her biological mother — a journey that takes the well-off couple and their wide- eyed daughter through the minefield that is Sri Lanka.
What they witness is unnerving and edifying — unnerving because they put themselves in the middle of a dangerous war, edifying because it makes them understand the pressures that Shyama faced when she relinquished her daughter. Ratnam conveys the conflicted feelings of Amudha and Shyama to great effect. Ratnam also conveys the stunning beauty of the island nation of Sri Lanka. (The film was shot in southern India, whose landscape mirrors that of Sri Lanka.) He even includes a few episodes of singing that lighten the film’s atmosphere.
On the downside are several scenarios that seem entirely implausible. How is it, for example, that Amudha’s family is the only one in a Sri Lankan park that happens to get surrounded by soldiers who then get into a major firefight with Tamil guerrillas? Also, audiences unfamiliar with the history of Sri Lanka will wish “A Peck on the Cheek” had a written prologue that explained who the Tamils are and why they’re rebelling against the government. (The film’s title apparently comes from a line by the Tamil poet Mahakavi Subramaniya Bharathiyar.)
Still, “A Peck on the Cheek” explores universal themes of displacement, struggle and family — themes that will register whether an audience is in San Francisco or somewhere in Sri Lanka.
– Advisory: Scenes of bloody warfare.
– Jonathan Curiel
Drama. Directed by Jorge Furtado. With Lázaro Ramos and Leandra Leal.(In Portuguese with English subtitles. Not rated. 123 minutes. At the Lumiere.)
The film’s long first segment sticks with the comic observations and ruminations of Andre (Lázaro Ramos), a disaffected 19-year-old living in Porto Alegre. He’s bored sick by his low-end job as a photocopier, and his prospects are dim — he was expelled from school when he broke a bottle over another student’s head. In Andre’s circle, no money means no dates. He can’t pull together enough ready cash to ask out a neighboring girl (Leandra Leal) he’s been spying on with his binoculars, “Rear Window”-style.
Andre draws edgy cartoons — which inspire the film’s several amusing animated sequences — and tries without much success to convince girls that he’s an artist. When his boss buys a new color copying machine, Andre is inspired and, after considerable effort, learns to produce a decent counterfeit bill. The scene where he makes his first nervous attempt to pass some of the funny money is nicely done. In all, it’s a pretty good portrait of your basic alienated young man.
Abruptly, the proceedings take a noirish turn — suffice it to say that Andre’s venture into the criminal world has major unintended consequences — and the film loses its footing. Director Jorge Furtado does strike a fair number of disquieting notes before yanking the rug from under our feet, but the turnabout still disappoints. This sort of thing has to be done seamlessly, or it feels like a cheat.
Still, “The Man Who Copied” has enjoyable moments, many provided by broadly drawn secondary characters. A sex-bomb co-worker (Luana Piovani) who’s saving her virginity for a rich guy keeps Andre’s hormones racing, and there’s a sad-sack would-be Casanova (Pedro Cardoso) who tells women he’s in the antiques business when he really works in a junk shop.
Ramos is appealing as the rueful, quietly desperate Andre, and Leal convinces as the gentle, naive shop girl he covets. As indicated by the first 30 or so minutes here, director Furtado has genuine talent. But the film runs 123 minutes, and it shouldn’t be that long. This one slipped away from him.
– Advisory: sexual and violent content.
– Walter Addiego
“Noise” concerns electronic voice phenomenon, in which dead people are supposed to contact loved ones via electronic devices. Meaning, that clock radio didn’t just wake you up this morning. It’s also a portal to Aunt Sally.
This isn’t a new idea. Paranormal experts on cable channels are always recording sounds in allegedly haunted houses and growing excited about messages that they, but rarely the viewer, can decipher. “White Noise” offers the same thing on a bigger screen.
Michael Keaton, his screen presence as faint as the movie’s messages from the dead, plays an architect whose author wife is killed after writing a book called “The Eternal Flame” (wink, wink). Keaton’s character, Jonathan, moves into a house with glass walls, as people in horror movies tend to do to make them more vulnerable when scary stuff happens later. Only the scary stuff never really happens in “White Noise.” Occasional jolts are surrounded by a whole lot of static.
Ian McNeice plays a man who tells Jonathan that his wife wants to contact him, and introduces Jonathan to his bank of TV screens and computer monitors. McNeice, large of frame and soothing of voice, is a comforting figure. Deborah Kara Unger, as a woman seeking word from her dead fiance, is not. With her exotic eyebrows and haunted expression, she’s the most supernatural presence in the movie, even when her character is just minding her bookstore.
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Determined to communicate with the late missus, Jonathan sets up his own electronic rig at home, watching fuzzy screens day and night. A few of the dead people he summons are creepy, as dead people sometimes can be, and urge him to stop contacting the spirit world. But he can’t, because he’s addicted to the ambiguous images and sounds. “White Noise” is addictive in different way — the compulsive wristwatch-checking way.
Forced to look grave or purposeful, Keaton mutes the natural ebullience that usually makes him so appealing to watch. Sometimes his mouth opens in shock, one of the few acting choices available when emoting opposite a TV or radio. You have to wonder why this talented actor picked this project. The premise probably sounded eerie, but “eerie” is hard to pull off in shots of boom boxes with “MP3″ stickers.
Directed by Geoffrey Sax and written by Niall Johnson, both British TV vets, “Noise” is also weirdly insistent that electronic voice phenomenon is legitimate. A postscript assures us that only a small fraction of spirits contacted through the process is hostile. Who is behind this shameless plugging, the Ghost Advisory Board?
– Advisory: This film contains profanity, violence and scenes of horror.
E-mail Carla Meyer at cmeyer@sfchronicle.com.
Much as her character is magically transformed from dweebishly defenceless adolescent to glamorously loaded adult, Jennifer Garner makes the transition from cult-fave TV action icon to full-fledged, ultra-charismatic promote be conducive to in “13 Contemporary on 30,” a nova vehicle composed of subsequent-hand parts that nevertheless gets great mileage (and big laughs) from its recycled diagram. Certain to click with the youngish femme demographic, sprightly soppy comedy-fantasy could build up long-distance B.O. carrying out as favorable word of back talk builds. Pic also is obliged to deliver the goods a succeed a splash in ancillary streams.
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In fashioning a storyline that recalls several other time-tripping, age-switching scenarios — “Big” is only its most obvious predecessor — co-writers Josh Goldsmith and Cathy Yuspa return to the semi-fantastical vein they mined so profitably in “What Women Want.”
Early scenes set in 1987 briskly establish young Jenna Rink (Christa B. Allen) as a brainy/mousy waif who dreams of gaining acceptance by the hippest girls at her school. Matt (Sean Marquette), her classmate and not-so-secret admirer, advises her to be “an original,” not a conformist. “But I don’t want to be an original,” she pointedly replies. “I want to be cool.”
Jenna gets her chance to chill after she’s sprinkled with “Wishing Dust” during her disastrous 13th birthday party. She wakes up to find herself 17 years older — and, more important, drop-dead gorgeous — with a hunky celebrity boyfriend, lavish Manhattan apartment and fabulous job as editor of a glossy women’s magazine. Trouble is, she’s still little Jenna inside her head. From the moment she literally rolls out of bed as the cluelessly adult Jenna, Garner grabs attention with equal measures of giggly girlish exuberance and anxious-adolescent befuddlement. It’s not terribly surprising to see that, after three seasons of acrobatic butt-kicking on TV’s “Alias” and her Elektra-fying super-heroics in last year’s “Daredevil,” the fetching actress is exceptionally adept at physical comedy. What is surprising, and delightful, is the full-tilt energy and resourceful expressiveness she brings to conveying the illusion of an ungainly adolescent trapped inside a mature adult’s body.
Garner throws herself so fully and effectively into the role that in a few key scenes, she vividly conveys Jenna’s high spirits and giddy pleasure through the graceful curling of her toes.
In this kind of pic, the protagonist always comes to regret having a wish fulfilled. And, sure enough, Jenna learns she has risen to the top by being ruthless and demanding — qualities, it should be noted, that are greatly appreciated by her prissy editor-in-chief (Andy Serkis, only slightly less animated here than in the “Lord of the Rings” trilogy). Her closest associate, Lucy Wyman (Judy Greer), is the conventionally grown-up version of her snootiest hip-chick classmate. And while Matt (Mark Ruffalo, establishing romantic-comedy leading-man credentials) has grown up to be an amiable and attractive photographer, he’s decidedly aloof when Jenna tries to reconnect with him, because the last time they met, as teens, she banished him from her life for being terminally uncool.
Helmer Gary Winick (”Tadpole”) does a nifty job of bringing a fresh spin to most of the script’s cliches and emphasizing nuggets of emotional truth provided by Goldsmith and Yuspa. Comedy only gradually reveals how much Jenna won and lost by transforming herself into her ideal of adult success, suggesting the scenario could have been played more seriously with thought-provoking results. (What if, instead of pivoting on magic, pic had dealt with a discontented woman who psychologically blocks all memories since innocent adolescence?) Happily-ever-after wrap-up is dramatically satisfying and commercially sound, yet also something of a predictable letdown.
Supporting players — including Marcia DeBonis as Jenna’s chronically cowering secretary — are first-rate across the board. A few even get to strut their stuff as dancers during one of pic’s funniest sequences, a party at which Jenna leads guests in retro moonwalking to Michael Jackson’s “Thriller.” Other smartly chosen ’80s pop hits (including key tunes by Rick Springfield and Pat Benatar) pepper a soundtrack bound to generate strong CD sales.
In a 17th-century Danish village, Marte (Anna Svierkier) is accused of witchcraft. In the shadow of her flight, capture, confession, and vehement at the stake, Anne (Lisbeth Movin), the young woman of the town’s aging pastor, Reverend Absalon Pedersson (Thorkild Roose), falls in honey with the pastor’s son, Martin (Preben Lerdorff Rye). Her confession of this illicit affair to her husband brings on his destruction. At his funeral, his mother Meret (Sigrid Neiiendam), denounces the widow as a witch.
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A demented guy in clown makeup torments a childlike better half and leaves a string of bodies in his wake.
On the a woman hand, Huston’s typically wry contribution to Hollywood’s yearn-established, censor-baiting fascination with nuns. On the other, a quirky and superior reworking of his own The African Sovereign. Deborah Kerr, back in the habit ten years after Raven Narcissus, is stranded on a Jap-held Pacific holm with Marine corporal Mitchum, whose wonderfully low-key portrait of melting masculine pride is everything Bogart’s respectably Oscar-chasing irascibility wasn’t. The most-liked film of its veteran screenwriter, John Lee Mahin.
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He plays everybody else.
In this sequel to the 1996 hit, the five members of the Klump family finally push away from the dinner table — the only place they were seen the last time around — Buddy Love is still cackling just under the surface and Murphy materializes in even more disguises than expected. The results are frequently hilarious.
He is first seen as Mama Klump, a beaming member of a gospel choir singing “Oh, Happy Day” for a wedding, but the real action begins with a knockout sight gag. What an entrance!
Roly-poly Professor Sherman Klump, actually more sweet-natured than nutty, has discovered the secret of the fountain of youth, bottled it and is about to sell it to a pharmaceutical conglomerate for $150 million, approximately what this movie will make at the box office in a week or two.
If you can buy Jackson as a fellow professor, and — in an inspired bit of casting –a very proper one at that, you’re not alone. Sherman longs to marry her, but his libidinous alter ego, Buddy Love, keeps popping up.
What this comic fable ultimately comes to is learning to accept oneself whole, unconscious sex drive and all — id is just ID without the capitals, you know.
In what could be one nut- scientist plot twist too many but absolutely necessary nevertheless, Sherman has made another discovery in his Rube Goldberg-meets-Dr. Frankenstein lab: how to isolate the DNA for his Buddy Love gene and rid himself of the pesky troublemaker.
This not only frees his inner id but frees Murphy himself to run wild. It’s probably too much to ask for a little restraint where gross-out comedy is concerned — maybe he goes too far — but who’s complaining? The Eddie Murphy we’ve all been waiting for is back, loose and unfettered. He hasn’t been this freewheeling since his notorious 1982 concert album.
Even with all the variations on Viagra jokes, you wonder if he can keep it up for 110 minutes. By and large in this longish comedy, he does.
As Sherman, Mama and the other Klumps — including the randy Granny, dim brother Ernie and Papa, who after 35 years on the job has been fired, not retired — Murphy is variously prickly, coy, wistful, bitchy, touchy, prissy, giddy and pugnacious, and that’s just for starters. Add Buddy to the mix, and you’ve got satanic and lecherous as a sniffing mongrel.
One-upping Murphy’s first “Nutty Professor” — Jerry Lewis was the original, never forget — the Klumps now can interact in the same frame, thanks to digital effects, and not just look over one another’s shoulder.
Stand-up comedian Larry Miller is so good as Sherman’s dean that he steals scenes from Murphy.
Periodically, Sherman’s fantasies are dropped in, too, almost as stand- alone skits. As a practical matter — who’s practical at a time like this? – they could be cut, but it would mean the loss of parodies of “Armageddon” and “Star Wars.” “May the Force be with you” will never be the same.
In other contexts, a laboratory hamster evolves into a humping parody of “Godzilla,” and wicked little zingers are sent flying in the direction of Richard Simmons and, especially, Stone Phillips of NBC. It couldn’t happen to a nicer guy.
– Advisory: This film contains sexual and scatological humor. ..
E-mail Bob Graham at bgraham@sfgate.com.
