Red Dragon: Re-Enter the Dragon

Re-Enter the Dragon

by Rusty White
reviewed: 2002-10-05

Rating:	3 STARS
Director:	Brett Ratner
Starring:	Edward Norton, Anthony Hopkins, Ralph Fiennes, Harvey Keitel, Emily Watson, Mary-Louise Parker, Philip Seymour Hoffman, Anthony Heald
Length:	2 hours 4 minutes
Rated:	R

"Red Dragon" would seem to be the redheaded stepchild of the "Hannibal Lector" series. It has the stigma of being both a remake and a sequel. The big surprise is that "Red Dragon" turned out to be the second-best film in the series. I find it hard to write these words because I have been an ardent fan of Michael Mann's stylish "Manhunter" from the beginning. Both film versions of Thomas Harris's book "Red Dragon" are far superior to the noxious "Hannibal." "Red Dragon" was directed by Brett Ratner, soon to helm "Superman."

"Red Dragon" remains truer to Thomas Harris's source novel than did "Manhunter." The film's opening and closing provide the biggest treats for fans of the series. This new film version begins with the capture of Dr. Lector (Anthony Hopkins) by agent Will Graham (Edward Norton) of the FBI. This was an element of the novel that was missing from "Manhunter." I'll not spoil the setup, but do watch for Oscar winning composer Lalo Schifrin and John Rubinstein (Zachariah) in small roles during this sequence.

To those not familiar with the novel or earlier film version, the plot of "Red Dragon" centers around the FBI's hunt for a serial killer dubbed 'The Tooth Fairy' by the press. Francis 'The Tooth Fairy' Dolarhyde (Ralph Fiennes) has slaughtered two families. The police are stumped. FBI agent Jack Crawford (Harvey Keitel) reaches out to Will Graham for help. Will retired after nearly dying during the capture of Hannibal Lector. Will has retreated to the solitude of the Florida Keys with his wife and child. Crawford convinces Will that his help is needed if another family is to be spared as nocturnal visit by the Tooth Fairy. Graham will only be needed behind the scenes; yeah right! Graham had a knack for thinking like his prey. Will eventually returns to visit Dr. Lector for advice on the case. Sound familiar?

Anthony Hopkins success in bringing pure evil to the screen is the reason this film was made. On the face of it, "Red Dragon" seems almost more calculated to make money than the horrendous "Hannibal." That fact makes the film's success all the more amazing. The bulk of the film is quite like "Manhunter" in pacing and tone. Though both film versions of the novel were photographed by Dante Spinotti, they are very different in style. Michael Mann's "Manhunter" was stylish in a "Miami Vice" sort of way. "Red Dragon" has more in common with "The Silence of the Lambs" than the earlier "Manhunter." Director Ratner comports himself well in this film. Though he does rely on the quick-cut shock tactic a few times too many, he created a moody and deliberately paced film.

Edward Norton is excellent as Special Agent Graham. So was William L. Peterson in "Manhunter." Norton has a rugged, sun tanned look that is perfect for the role. He is less brooding than Peterson was in the first film. Those who have not seen "Manhunter" will appreciate his performance even more. The are many scenes that use much of the same dialogue as the earlier film. I had a hard time not comparing performances as I watched.

While Ralph Fiennes is great as the villain, Francis Dolarhyde, I couldn't help thinking how cool it would have been to have Tom Noonan reprise his role from "Manhunter" as the killer. Fiennes is a good actor, but he has the wrong look and build for the part. Francis Dolarhyde was a misshapen giant. His size and facial deformity were important parts of his makeup. Fiennes didn't seem big enough for the part. He is great in the way he captures the emotional distress felt by the psychopath. "Red Dragon" goes into much more detail about Dolarhyde's background. This is a nice touch. Tom Noonan was able to convey the conflict of good and evil within the Dolarhyde character without all of the extra background information. I wonder what he could have done with this script!

Harvey Keitel is flat as Jack Crawford. He doesn't have the cocky, self-assurance of Dennis Farina's Crawford from "Manhunter" or Scott Glen's laconic strength from "The Silence of the Lambs." Emily Watson takes of the role played by Joan Allen in "Manhunter." Watson plays Reba McClane, the blind woman who becomes Dolarhyde's lover. Ms. Watson employs the peculiar mannerism of holding her eyes wide open in almost every frame of film. It is as if she is saying, "Hey, My Eyes Don't Work!" This choice on Ms. Watson's part is distracting to the point it almost sinks her performance. The usually wimpy Mary-Louise Parker gets to play a non-victim role for a change. Parker plays Graham's wife. Philip Seymour Hoffman plays the ill-fated tabloid reporter Freddy Lounds. The role was played better in "Manhunter" by Stephen Lang.

Brian Cox portrayed Hannibal Lector with great effect in "Manhunter." When I heard that a film version of "The Silence of the Lambs" was being made without Brian Cox, I was disappointed. Then I saw "The Silence of the Lambs." Anthony Hopkins reinvented evil on screen in that 1991-horror classic. In "Red Dragon," Hopkins once again brings a mixture of elan and menace to the screen. At times, his performance comes dangerously close to parody, but a twitch here, and a shadow in his eyes there, soon chills the viewer"s blood once more. Hopkins resurrects the Lector of "The Silence of the Lambs" and removes the 'serial-killer-as-superhero' taint raised in the movie "Hannibal."

Ted Tally wrote the scripts for both "The Silence of the Lambs" and "Red Dragon." Hiring Mr. Tally was a wise choice. His additions to Anthony Hopkins' role match the tone of the book. Lector was but a small part of the novel and first film. For obvious reasons, the part had to be enlarged in "Red Dragon" In "Manhunter," Graham visits Lector under the pretense of asking for his help. In fact, Graham has been away from the hunt for a long time. He just wants to get the scent of a psycho back in his nose. In "Red Dragon" Tally builds on that premise, but has Graham also deal with his fears. Graham is seeking some sort of closure with Lector in "Red Dragon."

Danny Elfman's score is powerful. Look for an Oscar nomination for this one. I was reminded of Bernard Herrmann's great Hitchcock scores as I watched the film.

"Red Dragon" ends differently than "Manhunter." I both appreciated this and found part of it contrived. There is a scene in which Dolarhyde is presumably killed, but you know that he isn't dead. That gimmick is as old as movies themselves. However, the gimmick is used to set up a final confrontation that is one of the best parts of the newer version. Norton delivers a powerful performance during this scene. The movie ends with a nice teaser that is designed to lead right into "The Silence of the Lambs." With "Red Dragon," Hannibal Lector has come full circle to a satisfying conclusion. By returning Hannibal to his origins, the mess that was "Hannibal" becomes just a bad memory.

25th Hour: Yesterday, Today and Tomorrow

Yesterday, Today and Tomorrow

by Rusty White
reviewed: 2002-12-16

Rating:	3 STARS,
Director:	Spike Lee,
Starring:	Edward Norton, Rosario Dawson, Philip Seymour Hoffman, Barry Pepper, Brian Cox, Anna Paquin
Length:	134 minutes
Rated:	R

Monty Brogan (Edward Norton) has 24 hours before he must surrender himself to Federal authorities and begin serving a 7-year sentence for dealing drugs. Monty spends his last 24-hours of freedom looking back over his past and forward to the 25th hour, the hour which will shape the rest of his life. "25th Hour," Spike Lee's first feature film since "Bamboozled" is a mature change of pace for the always interesting director. "25th Hour" harkens back to the early works of Martin Scoresese, especially "Mean Streets." Lee's film doesn't achieve the classic status of "Mean Streets," but it does have the taste, smell and feel of that earlier film. "25th Hour" also looks back to the films of the 70s with its wonderful ending.

Monty can't enjoy his last day with his lover Naturelle (Rosario Dawson). Monty suspects she was the one who turned him into the Feds. The cops said she did, and so did his Russian supplier, Kostya (Tony Siragusa). The fact that Monty still lives with Naturelle tells you something about his character. He's basically a nice guy who makes his living off of other people's misery. In the opening sequence, Monty and Kostya are on their way to a drug deal. Monty stops his souped-up Dodge Charger in the middle of a bridge and saves a dog that has been thrown from a car. He names the dog Doyal after Kostya says that Monty brings him (Kostya) bad luck. "You're just like Doyal's Law: It will go wrong." So the dog that should have been named Murphy, ended up being called Doyal. That's the kind of guy Monty is. He is conflicted. He wants to believe he can trust Naturelle, but then again, she was the only one who knew where the drugs were kept. Monty's namesake is Montgomery Cliff. His father James (Brian Cox) wanted to name him James Jr.. Instead, Monty's mother won out. Like the troubled actor, Monty has made a lifetime of bad choices. Those choices are closing in on him.

Frank (Barry Pepper) and Jakob (Philip Seymour Hoffman) are Monty's best friends. They want to show Monty one last night of fun, Frank is a high powered Wall St. trader who is willing to risk other people's money to insure he never goes back to the old neighborhood. Jakob is a dweebish teacher at a prep school who has the hots for Mary D'Annunzio (Anna Paquin), a pierced, tattooed hottie in his English Lit. class. The sub-plot between Jacob and Mary is Lee's one big misstep in this movie. Jakob's character plays an important role in the movie. It seems that the teacher/student sub-plot was thrown in to give Jakob something to do before he is really needed.

"25th Hour" is episodic. The film doesn't follow the paradigms espoused by the numerous "how to" screenwriting books that crowd bookstore shelves. Lee follows the characters through this all-important day. Flashbacks are used when necessary to show Monty reflecting on what got him where he is. Lee's conservative use of the flashback rivals Sam Peckinpah's use of the same technique in "The Wild Bunch." They are short and to the point.

Edward Norton proves once again, that he is the best young actor working in film. Monty is an introspective character. He is living the most pivotal day of his life. Norton expresses this angst through a number of acting methods. His performance is lean. No fat whatsoever. Norton's Monty realizes he has screwed up. Although he had good motives, Monty took an easy way out. This may sound pat and trite, but Norton is wonderful portraying this conflicted character. It is in this respect that "25th Hour" most resembles "Mean Streets." Norton reminded me of Harvey Keitel's introspective gangster contemplating the fires of hell. Some may say that it's easy to feel sympathy for Monty because he's such a nice guy. The movie only shows one victim of his crime. Monty is confronted by a pathetic junkie in need of a fix. The movie doesn't go into as much detail about how Monty was able to harden his heart to those he preyed on. Maybe less of the student /teacher sub-plot and more of this issue would have made "25th Hour" a better film. Lee doesn't avoid the subject. There is a wonderful scene between Frank and Naturelle, which deals with it head on.

The movie includes a very nice subdued performance by Brian Cox as Monty's dad, James. James blames himself for Monty's troubles. Monty's mom died when Monty was 11 years old, and James turned into a drunk. Brian Cox's wonderful Irish lilt is magical as he does the voice-over Lee's touching and ambiguous ending.

Lee is to be lauded for his New York attitude. The credit sequence will touch even the most jaded heart. Lee is able to show the effects of 9-11 on New Yorkers and Americans in general during the course of the movie. There is a great scene shot from a window over-looking the clean up at ground zero. The scene represents the events of 9-11 as well as choices that Monty will have to make in the future. While "25th Hour" isn't a masterpiece, it is the best film by Spike Lee since "Malcolm X."

8 Mile: 8 Miles High!

8 Miles High!

by Rusty White
reviewed: 2002-11-09

Rating:	3 & 1/2 STARS
Director:	Curtis Hanson
Starring:	Eminem, Kim Basinger, Brittany Murphy, Mekhi Phifer
Length:	1 hour 58 minutes
Rated:	R

Controversial Rapper Eminem has pulled off a Howard Sternish cinematic makeover. The adored and reviled singer comes across strong, sympathetic, funny and surprisingly moral in Curtis Hanson's new film "8 Mile." As Stern did in the wonderful "Private Parts," Eminem forces closed-minded critics to give the man another look with "8 Mile" . Eminem plays "Rabbit," a blue-collar, trailer-trash working-stiff who dreams of someway out of his hellish existence. Rabbit sees Rap/Hip Hop music as his ticket out. In "8 Mile," Eminem is a sympathetic hero striving to overcome seemingly insurmountable odds. The young singer's performance is worthy of an Oscar nomination. Eminem has been quoted as saying he doesn't intend to act again. That would be a shame, as he has a charismatic screen presence. Eminem is asked to carry this movie. For a first time actor his performance is remarkably seasoned. The naysayers might state that Eminem is just playing himself. Even if that is true, he still has charisma. The history of film is full of people just playing themselves. Many of them were never heard from again. Others, like Gary Cooper, John Wayne and Jimmy Stewart based long and lustrous careers on playing themselves.

Rabbit (Eminem) works at a metal pressing factory in Detroit. "Only ex-cons and welfare moms work there" says Rabbit's former classmate who is now his mother's lover. Rabbit breaks up with his girlfriend when she mentions the word "pregnant." He does leave her the car though. Rabbit is a cipher to those around him. His buddy, 'Future' (Mekhi Phifer) knows that Rabbit has what it takes to break out into the music business. Future hosts Friday night "Rap Battles" at a place called the shelter. A Battle consists of two Rappers facing off for 45 seconds of stylized insults. The crowd decides the winner. The film starts with Rabbit preparing to take part in his first battle. Rabbit chokes. The time isn't right. He has too much inner turmoil to let the beast loose on stage yet.

Rabbit only has one place to go, now that he has broken up with his girlfriend: home to the trailer park. Rabbit walks in on his mother Stephanie (Kim Basinger) as she is riding her unemployed lover on the livingroom couch. Ah, the joys of trailer park living. Rabbit's journey to the film's climatic "Rap Battle" is a baptism of fire, which will reveal Rabbit's individuality and inner strength. Eminem is amazing as his character faces temptations and bullshit from every corner. Rabbit doesn't always make the right decision, but like "Old Blue Eyes," he does it his way!

Director Curtis Hanson has an eye for the seedy side of life. "8 Mile" is set in a version of Detroit that is even uglier than the Detroit of "Robo Cop." The only thing that doesn't appear broken down in this city are the spirits of the film's main characters. The city is a Muse for Rabbit and the others. Their poetry from hell encapsulates all of the anger and woe produced by life on the edge of oblivion. In the film's funniest scene, Rabbit works on his mother's broken down car, while Future talks to him. Stephanie's lover sits in the trailer listening to Lynyrd Skynyrd's "Sweet Home Alabama." Rabbit and Future make up an ad-libbed tribute to Rabbit's predicament to the tune of the Skynyrd song. The song is hilarious and sad at the same time. Rabbit is able to laugh at the cards he has been dealt. Like everyone else in the movie, he wants out. Unlike everyone else in the movie, Rabbit has what it takes to get out.

The performances are uniformly fine. Kim Basinger grows more and more with each smart script she selects. She has that rode-hard, hung-up-wet quality which exists in the world of Jerry Spingerville. Brittany Murphy is hot as Alex, the sexy babe who will do whatever and whomever it takes to get a ticket to New York. The sex scene between Alex and Rabbit captures perfectly the unbridled passion of a spur-of-the-moment-rip-your-cloths-off quickie as any I have ever seen on film. Mekhi Phifer has a young David Keith quality. Phifer provides a rock-strong sidekick performance. Only Evan Jones as the doofy "Cheddar Bob" seems to be a stereotype. Cheddar Bob is there to provide comic relief. Maybe he is based on one of Eminem's friends.

"8 Mile" contains much profanity, however, the film is completely devoid of any of the lyrics which have caused Eminem to incur the wrath of parents and old-farts like myself. Ironically, Rabbit comes to the defense of the film's one gay character. This isn't to say that Rabbit is a saint, he isn't. Thank God for that. Eminem's Rabbit is a fully developed character that is reminiscent of the "angry young men" cycle of films, which came out of England in the early 1960s. Eminem delivers as strong a performance as Albert Finney in "Saturday Night and Sunday Morning," Richard Harris in "The Sporting Life" or Tom Courtney in "The Loneliness of the Long Distant Runner." "8 Mile" melds the fury of those films into the formula plot of "Rocky" to create the story of a hero you can't help but root for.

Shadow of the Vampire: Immortal Undead

Immortal Undead

by Rusty White
reviewed: 2001-01-27

Rating:	3&1/2 STARS
Director:	E. Elias Merhige
Starring:	John Malkovich, Willem Dafoe, Udo Kier, Catherine McCormack, Cary Elwes
Length:	1 hour 32 minutes
Rated:	R

In 1969, I saw F.W. Murnau's silent film masterpiece "Nosferatu" in the basement of the main library in Memphis. The movie ended around 10 PM. I believe I set a world record running the 5 dark city blocks to the safety of my home. This was one 11 year old that the boogie man was not going to get. "Nosferatu" is one of the best vampire movies ever made. It is hard to imagine anyone who has seen it disagreeing with that claim. E. Elias Merhige's "Shadow of the Vampire" builds on the clever premise that Max Schreck (Willem Dafoe), the actor who played Count Orlock in "Nosferatu" was in fact a real vampire. The only one aware of this is director Murnau (John Malkovich). Murnau has struck a deal with the devil in order to direct an unauthorized version of Bram Stoker's Dracula. Merhige's film is a smart, funny and insightful look into the world of filmmaking.

If you are looking for a scary movie "Shadow of the Vampire" is not for you, however, if you are a horror movie fan familiar with "Nosferatu" and the mysterious Max Schreck, then this is your cup of tea. That is not to say that those unfamiliar with this movie's origins will be disappointed. My date as ignorant of film's history as a nun is to the ways of carnal love and she loved "Shadow of the Vampire."

"Shadow of the Vampire" draws some interesting analogies between the undead and the artist. Malkovich portrays Murnau as a genius who seeks immortality through celluloid. In one scene, Greta Schroeder (Catherine McCormack), the leading lady of "Nosferatu" argues that she doesn't want to go on location because the theater season in Berlin is about to start. Malkovich responds by stroking her ego. This role will push her talents and make her a star. If she finishes the film she will make sacrifices for her art which will place her above all other actresses. It is Malkovich who is willing to sacrifice all for his art, even if his actions endanger others. No one else could have played this part. Malkovich's Machiavellian Murnau is a wonder to behold as he directs his movie. I especially enjoyed, as he directed Gustav von Wangenheim (Eddie Izzard) and Count Orlock during the dinner scene. As Gustav slowly cuts through a loaf of bread, Murnau suddenly yells, causing Gustav to cut his finger. The sight of blood sends Orlock into a vampiric frenzy. One must make sacrifices for their art. The movie trailer reveals the scene in which Murnau berates Orlock for attacking his cameraman. "Couldn't you have taken the script girl instead?" Murnau asks.

Willem Dafoe is barely recognizable under the realistic "Max Schreck/Count Orlock" makeup. Writer Steven Katz has created a truly memorable and sympathetic vampire. Max Schreck means "Great Terror" in German. While he evokes great terror on the cast and crew of "Nosferatu," Dafoe's Schreck is a pathetic and damned being who seems to enjoy this rare interaction with living beings. The loneliness of eternal life, shunned by the living has never been portrayed better. There is a wonderful scene between Dafoe, producer Albin Grau (Udo Kier) and screenwriter Henrick Galeen (Aden Gillet) in which the two drunken filmmakers ask Schreck what he though about Stoker's novel Dracula. Dafoe responds with a wonderful monologue which captures perfectly his characters isolation. I won't ruin it for you by describing it further.

I can't act my way out of a paper bag, but I can imagine what it must be like for trained actors to work with such a wonderful script. The cast is uniformly excellent. Eddie Izzard brings a subdued comic tone to his role of German actor Gustav von Wangenheim. Malkovich tells his cast and crew, that Max Schreck is a method actor who will only appear to them in full makeup and in character. The scene in which Izzard's character first meets the Count is hilarious. Izzard captures the apprehension and terror that all horror movie fans know as he waits for that unexpected bump in the night. I'd like to see more of Izzard on the big screen.

Udo Kier has a nice turn as the film's producer. Kier portrayed Dracula in the infamous "Andy Warhol's Dracula." It was nice to see Kier in a role which didn't play on his reputation for appearing as a kinky pervert.

My only complaint was Cary Elwes' horrible accent. I enjoy him as an actor, but his accent bothered me. I wasn't as bad a Kevin Kostner's English accent in "Robin Hood" but then few things are.

"Shadow of the Vampire" takes up many familiar themes and reexamines them with a fresh twist. The duality of the Murnau/Schreck characters could be the subject of a good post movie bull session with other movie buffs. She this one with a fellow movie fan, but "Shadow of the Vampire" should be enjoyed by all.

The Village: Stranger Than Paradise

Stranger Than Paradise

by Rusty White
reviewed: 2004-07-31

Rating:	THREE STARS,
Director:	M. Shyamalan,
Starring:	Bryce Dallas Howard, Joaquin Phoenix, Adrien Brody, William Hurt, Sigorney Weaver, Brendan Gleesan
Length:	108 minutes
Rated:	PG-13

If you go into M. Night Shyamalan's "The Village" expecting a masterpiece of occult horror, you will be sorely disappointed. My teenage son was pissed off by the film. It was over his head. I understand his anger, as the advance PR promotes "The Village" as something it is not. I enjoyed the film very much. "The Village" is aimed at an adult audience. "The Village" concerns a hidden valley occupied by a utopian society circa 1895. The only drawbacks to this utopia are the monsters that live in the forest that surround the village. Until now, the creatures, or "those of who we do not speak" have stayed out of the village. When skinned puppies start showing up in the valley, the inhabitants begin to worry about the truce.

"The Village" tackles issues that are important in light of the conflict in Iraq. The inhabitants of the village fear the robed creatures from the forest. If not for the impending threat, the village would be an ideal community. The Elders (William Hurt, Sigorney Weaver, Brendan Gleeson and others) are wise and caring. Their children are obedient and trusting. The only oddity in the village is the retarded Noah (Adrien Brody). All members of the village have the same goals and desires in life. Conflict comes when a young child dies of disease. Lucius Hunt (Joaquin Phoenix) approaches the ruling counsel of Elders and requests permission to go through the forest to 'the towns' in order to bring back medicines that might prevent further loss of life. He is denied. The Elders protect their isolation. Monsters aside, they fear what would happen if outsiders discover their Garden of Eden.

The village is very Eden like. No money changes hands. All needs are met. Love is the most important commodity. Ben Walker (William Hurt) is a widower with daughters. His oldest daughter loves Lucius, but that love is not returned. Ben's second youngest daughter Ivy (Bryce Dallas Howard) also loves Lucius. The no-nonsense Lucius does love Ivy. Also, Ivy is blind. "The Village" contains the most romantic scene ever put on film. Lucius and Ivy sit on a porch at night. Their simple conversation captures the essence of love. Shakespeare himself would be proud of the scene. The scene works as the central point of the film. The dangers and sacrifices of the film's second half stem from this heartfelt conversation. A number of people in the audience screamed out in distress when this love is challenged later in the movie. You will understand once you see the movie.

Mr. Shyamalan continues to make films about spiritual seekers. "The Village" examines the price a people will pay to be free and safe. The film delivers a number of great frights. IMDB classifies the film as a horror/thriller/drama. It is more and less than that. "The Village" is a philosophy class. It is a deliberately paced essay on mankind's quest for utopia. The slow pace may disturb many ADD filmgoers. Shyamalan paces his film like the life of those in the village. Slow and steady, broken up by rare and terrifying diversions.

Shyamalan is known for his twist endings. This film contains secrets. Older viewers will probably figure out some of the secrets long before they are revealed. I figured out the secret of 'the creatures' in the first 20 minutes. I figured out the secret of 'the village' about 20 minutes later. Knowing the secret didn't ruin the ride. I'm happy that M. Night Shyamalan is continuing to move in unexpected directions. He chose not to return to familiar ground and deliver a retread. This may upset some who want to relive the thrills of his previous outings. For me, "The Village" makes me want to see what Mr. Shyamalan has up his sleeve for next time.

Cabin Fever: Special Edition

Cabin Fever: Special Edition (2003)
Movie rating:	7/10
DVD rating:	8/10
Release Date:	January 20, 2004
Running Time:	1 hour 34 minutes
Rating:	R
Distributor:	Lion's Gate
List Price:	$26.99
Disc Details
Special Features:	Widescreen anamorphic format Chapter selection Director's commentary track Rider Strong commentary track Guy's commentary track Girl's commentary track Filmmaker's commentary track Family version of film Chick-vision version of film Behind the scenes featurette Pancakes The Rotten Fruit episodes Trailer Easter Egg
Video Format:	Anamorphic Widescreen (2.35:1) [SS-DL]
Languages:	English (Dolby Digital 5.1) English (Dolby Digital 2.0) Stereo Surround
Subtitles:	English, Spanish.
Captions:	Yes
Casing:	1-Disc Keep Case

Review

Director Eli Roth makes an assured debut with the scary, funny, sexy "Cabin Fever." Fans of the horror genre will feel that they are in familiar territory at first. There are elements of "Evil Dead," "Night of the Living Dead," "Deliverance" and "The Texas Chainsaw Massacre" in Roth's film. When you start to feel comfortable in these familiar surroundings it will be too late. You have fallen into Roth's trap. "Cabin Fever" is impressive because it takes such familiar surroundings and twists them into an original tangle of terror. Despite the scares, "Cabin Fever" also delivers a large number of darkly sardonic laughs. I walked out of the movie thinking that I must be a sick and twisted individual because I laughed so much. Once you see the movie, you will know what I mean.

Five friends rent a cabin in the woods for the weekend. Jeff (Joey Kern: Garmento) and Marcy (Cerina Vincent) want to spend their time screwing. Bert (James DeBello: Scary Movie 2) brought a gun instead of a girlfriend. Bert wants to drink beer and shoot squirrels. Paul (Rider Strong: Sean from Boy Meets World) has had a lifelong crush on Karen (Jordon Ladd: daughter of Cheryl and David Ladd). Paul hopes to finally take his friendship to another level. Little do they know that the fun is going to be short lived. So is much of the cast. Instead of demonically possessed vines or inbred, cannibalistic rednecks, our young cast find themselves at the mercy of a flesh-eating virus.

I really don't want to spoil this movie for you, so I won't give away anymore of the plot. As is the case in many horror films, character development is not that important. The performances are good of sorts. Actor Giuseppe Andrews has a bizarre and funny supporting part as a clueless deputy sheriff. There are a large number of small character parts that lift "Cabin Fever" several notches above your average horror film.

The star of "Cabin Fever" is director Roth. He expertly builds the tension and delivers a number of relentless set pieces. Roth knows how to deliver both shocks and suspense. What makes Roth a director to watch is his ability to make the familiar strange. Roth scares you and makes you laugh at the same time. His film manipulates the audience in ways you may not like. Roth wants to push your buttons. There is a very hot sex scene between Jeff and Marcy. At the last minute, Roth reverses gears on you. Roth fucks with you during the horror scenes as well. This talent makes "Cabin Fever" better than it had any right to be. There are a number of plot choices that seem like bonehead moves at first. Overall, though, they turn out to be the right choices. There is a politically incorrect joke involving a rifle that is very funny. "Cabin Fever" is very gory. The sound effects are very effective. Roth's version of the horse head scene from "The Godfather" will make the horniest teens think twice before looking under the covers.

The Disc

My new favorite disturbed movie. A very twisted fun-fest. Gory, gory, gory! Great picture, sound and extras. Very fun extras!

Picture Quality: 9/10
The putrid mixture of dark red, mangy yellow and something I think was brown are vividly displayed in the film's dead-dog opening! Never has gore looked so sickeningly good! Lets not forget the flesh tones: before and after! Sexy Cerina Vincent nicely shows off her well-sculpted body. Excellent tans and pinks! No delineation problems during the sexy glimpse of her backside! Let the rotting begin. Decomposition has never looked so good.

Sound Quality: 8/10
At times the low ranges overwhelm your home theater system. My sub-woofer distorted in a few places. Otherwise, nice balance between the ranges. Full rich tones. As is the case with most great horror films, the soundtrack accentuates the shivers.

Easter Eggs:
On the main menu, you can click on the Lion's Gate logo to see trailers.

Jim Thomas of 3rd Sector Entertainment wrote to let me know about an Easter Egg I'd missed. 3rd Sector Entertainment put this great DVD together. Glad he wrote as I really enjoyed the bizarre character Winston, the party cop. If you go to the chapter menu pages and wait for a few minutes, Winston appears. Once he appears, a story involving him and two horny, virus infected party girls (porn star Stephanie Swift and Playboy TV's Janelle Perry) unfolds. Director Roth shows up at the end as a strange blue bird. Press enter when the Elibird shows up for an alternate version of the story.

Jim also told me about another Easter Egg. I couldn't get it to work. You try and let me know. Push enter on Chapter 24. You will see a big bunny rabbit. Push Enter again and it will take you to a "Tribute to Jake." Let me know if it works. I have a screener copy from Lions Gate. Sometimes screener copies have glitches. Extra Features: 10/10
Making "Cabin Fever" had to have been a fun experience. It takes Five Commentary Tracks to explain everything that happened! Sometimes commentary tracks can become annoying. In this case, all are worth listening to. Of course, you have to have the stomach to sit through the movie itself in the first place.

What fun extras. I hope I get the opportunity to meet and interview director Eli Roth someday. Or better yet, work on one of his movies!

"The Rotten Fruit" is a series of short animated films by Roth that are based around a British rock band made up of some very demented pieces of fruit. It is like the Anti-Christ's version of "Veggie Tales." The DVD contains three episodes. Two are a hoot, the third is a bit lame. I'd like to see a complete series DVD if Roth made more of these twisted little films.

Folks who've seen "Cabin Fever" will no doubt remember Dennis, the inbred kid with a blond mullet. He reminded me of a highly functional version of the banjo boy from "Deliverance." In once scene, Dennis yells 'Pancakes' before going into a karate routine and attacking one of the film's main characters. The DVD includes an Extra called "Pancakes." It is a homemade music video of the song "Gay Bar," in which Dennis does a kung-fu routine on a mountaintop. I think this kid should be in "Kung Pow II"!

There is a couple of viewing methods on the DVD. Director Roth introduces the "Family Version" of the film. Funny, but eclipsed by the ingenious "Chick-Vision" version.

The behind the scenes featurette might not be a slickly produced as some studio featurettes, but it captures the fun spirit of this dark film. I'd work for nothing to be on a set like this.

The Final Word:
The best Zombie film ever made that doesn't contain a single zombie! Very unique and familiar at the same time. This is a must have DVD for any horror movie fan, naked starlet fan or for anyone off their meds!

Zardoz

Zardoz (1974)
Movie rating:	6/10
DVD rating:	7/10
Release Date:	March 27, 2001
Running Time:	1 hour 46 minutes
Rating:	R
Distributor:	Fox Home Video
List Price:	$24.98
Disc Details
Special Features:	Widescreen anamorphic format. Interactive menu. Chapter Selection. Commentary track by director John Boorman. Theatrical trailer. Radio spots. Still photo gallery. Concept Art and Pressbook Galleries.
Video Format:	Anamorphic Widescreen (2.35:1)
Languages:	English (Dolby Digital 3.0) English (Dolby Digital 2.0 Stereo) French (Dolby Digital 2.0 Mono)
Captions:	English, Spanish.
Casing:	1-Disc Keep Case

Review

John Boorman has directed some of the most interesting films of the last half century. "Point Blank" was a ballsy, down and dirty crime drama far superior to the wimpy Mel Gibson remake, "Payback." "Excaliber" is the screens best adaptation of the King Arthur legend. "Deliverance" is one of the best films ever made. Even when Mr. Boorman misses the bull's eye, as in "The Emerald Forrest" and "Zardoz" he still delivers thought provoking and enjoyable films.

Set toward the end of the 23rd century, "Zardoz" is Mr. Boorman's personal musings on what might happen to human beings if they created a utopian society in which death is taken out of the equation. The Eternals are a group of people who live in the Vortex, a self contained and created prison in which all the knowledge of our race is contained. They are unable to die, even if they want to. Outside the vortex, life goes on with all the brutality and hardship that we face today. A stone God (Zardoz) floats through the sky and visits his chosen people, the Exterminators. The Exterminators are told by their God that the gun is good, it brings death. The Exterminators take the guns provided by Zardoz and kill everyone they can catch. Zed (Sean Connery) enters the stone head and is then able to enter the Vortex. His presence causes great debate among those who live their. Is Zed a harbinger of doom or a savior come to free those trapped in a hell of their own creation? Rent the movie to find out.

The Disc

The picture and sound are very good. There are not a lot of extras, but the commentary track by Mr. Boorman is priceless. Fans of films from the 70s will want to own this DVD.

Picture Quality: 10/10
The photography, and in-camera special effects of cinematographer Geoffrey Unsworth are excellent. Fox did a nice job in this transfer. The flesh tones (and there is a lot of flesh) are excellent. This is a visually exciting film. There are brilliant sets that combine the past and future. Enjoy.

Sound Quality: 10/10
Mr. Boorman used Beethoven's 7th symphony as the thematic base for the films soundtrack. It is a great piece of music. Hear it in all its glory.

Menu: 7/10
Easy to navigate. Not very imaginative though. The film is visually exciting, but the menu is not.

Extra Features: 8/10
The trailer for this movie is wild. It took back to the day. While there are not many extras, the commentary track is excellent. For insight into pre-Jaws, blockbuster filmmaking, listen to this track. I found it amazing that "Zardoz" had a budget of $1 million. It looks to be a much more expensive film. Also interesting are the revelations concerning the films special effects. This was before CGI. All of the film's special effects were in-camera. This is amazing. Watch the film and you will see what I mean.

The Final Word:
"Zardoz" was one of my favorite films in high school. Watch this movie and you might get some idea just what I was doing back then. It is a wild movie. While it may seem dated at times, "Zardoz" tries to explore some philosophical issues which you don't see in theatrical movies today. If the ladies are excited about seeing a muscular Sean Connery in a red loin cloth and leather boots then this is the movie for you.