Click
REVIEWED 06/06, © STEPHEN BOURNE
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REVIEW:

Beleaguered and workaholic Ammer + Partners architect Michael Newman (Adam Sandler; 'Happy Gilmore' (1996), 'The Longest Yard' (2005)) stumbles into a mysterious figure named Morty (Christopher Walken; 'The Deer Hunter' (1978), 'Domino' (2005)) while late night shopping at the local Bed, Bath & Beyond store, and is quickly given the ultimate high tech toy - a hand held universal remote control that lets Michael pause, mute, translate and fast forward any part of his life - in this memorably delightful dramatic comedy from director Frank Coraci ('The Wedding Singer' (1998), 'Around the World in 80 Days' (2004)), where Newman's already strained relationships with his loving yet exasperated wife Donna (Kate Beckinsale; 'Serendipity' (2001), 'Underworld: Evolution' (2006)) and their young kids, seven year-old Ben (feature first timer Joseph Castanon) and five year-old Samantha (big screen debut Tatum McCann) are pushed to the breaking point as Michael uses his new gadget to speed up his job successes and ends up missing out on what's most important.

Holy cripes, this is such an incredibly impressive movie from beginning to closing credits. What's great about 'Click' is that co-writers Steve Koren and Mark O'Keefe's screenplay is carefully grounded by a strong story that's mainly populated with believably personable characters that are a pleasure to spend time with. Sure, David Hasselhoff and Jennifer Coolidge make a few hilariously goofy appearances here as Michael's smugly simpleminded boss John Ammer and Donna's neurotic best friend Janine respectively, and this ninety-eight minute picture is absolutely riddled with laugh-out-loud quips and sight gags throughout, but it isn't held together or particularly moved along by the comedy as much as by the wonderfully clever story that locks every scene in place and, uh, clicks along at a steady pace. Quite frankly, this is easily the best Adam Sandler effort that I can remember ever seeing - and I'm an unabashed fan of his two starring stints playing opposite Drew Barrymore. Slightly feeling like a contemporary cousin of the famous family favourite 'It's a Wonderful Life' (1946) retooled as though intended to comedically resemble an episode from classic television's 'The Twilight Zone' (1959-1964), 'Click' takes consistently creative jabs at the inherently Sci-Fi concept of being able to affect your fate with the touch of a button. You see Michael slowly become addicted to the power of stopping or zipping through awkward and humdrum moments of life that most moviegoers will likely recognize from reality, until his glee turns to panic when that sleek-looking remote control of special features begins to wrongly anticipate his wishes and skips through ten years in the wink of an eye. The only notable flaw is in how some of the special effects tend to become overtly distracting. It's most noticeable during a rewind moment, when Newman sees himself as a boy, the faces of his parents - played by Henry Winkler and Julie Kavner - pulsate with an eerily unnatural waxy glow reminiscent of the terribly cheap-looking CGI cosmetics done in 'UltaViolet' (2005). However, later on, when the same digital sculpting is used to make Michael a laughably horrified obese and lonely business success, the effect is virtually flawless and uncannily realistic. It's also a bit weird that Newman's wife Donna is apparently an unemployed stay at home mother of two who's in a troubled marriage for a dozen years, and yet manages to look like Kate Beckinsale, even well into old age here. No matter. Realistic emotions paired with appropriate nuttiness seem to be the overriding factor in this wildly imaginative and effectively redemptive fantasy, where a welcoming familiar kernel of truth can still be found nestled in more scenes than not. Awesome. Absolutely do yourself a huge favour and check out this incredibly well-crafted mature comedy rife with fresh humour that masterfully tickles your funny bone while deftly tugging at your heart strings.

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Clerks 2
REVIEWED 07/06, © STEPHEN BOURNE
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REVIEW:

A year after the old Quick Stop Groceries was gutted by an accidental fire, Leonardo, New Jersey slacker Dante Hicks (Brian O'Halloran; 'Groupies' (1997), 'Drop Dead Roses' (2001)) gears up to leave his tedious job under laid back boss Becky's (Rosario Dawson; 'Men in Black II' (2002), 'Rent' (2005)) management at Mooby's fast food restaurant for a new life in Florida with his soon-to-be wife Emma (Jennifer Schwalbach Smith), and his lifelong doofus buddy Randal Graves (Jeff Anderson; 'Now You Know' (2002), TV's 'Clerks: The Animated Series' (2000)) wants to do something extra special for Dante's send off, in this outrageously hilarious and incredibly crass comedy sequel of the cult hit 'Clerks.' (1994) from writer/director/co-star Kevin Smith ('Dogma' (1999), 'Jersey Girl' (2004)), where Randal and co-worker Elias (Trevor Fehrman; 'Cheats' (2002)) argue about sex and "the one true trilogy", and weed selling loiterers Jay and Silent Bob (Jason Mewes; 'Scream 3' (2000), 'Nice Guys' (2005), and Smith) make a sudden return outside.

Wow. I can't remember having this much fun with raunchy gags and toilet humour since first seeing 'Clerks.'. If you can't stomach jokes laced with prurient pranks, blatant innuendo and racial slurs, you'll likely walk out on this movie. 'Clerks.' is arguably considered the ground breaking contemporary father of the hugely successful 'American Pie' pictures and others of this genre. This sequel perpetuates and embellishes upon that legacy with wonderfully fresh and memorably satisfying results. It's clever and good humoured, as well as being stupid funny, within the context of this world. However, the best thing about 'Clerks 2' is that Smith's truly inspired screenplay takes taboos and pushes them as far as possible in the right directions for all they're worth. It's like a throwback to the sophomoric comedies of the 1970-80's, with a new perspective and more elbow room to punch up the laughs. He knows these characters as being more than lazy potty-mouthed stereotypes, and doesn't wimp out when touching upon the various mature themed and bizarre topics of somewhat childish casual conversations that crop up. Sure, much of this ninety-seven minute campy romp consists of continually setting up Anderson to crank out increasingly goofy monologues. He's like Shakespeare's Hamlet solely raised on Hustler magazine, relentlessly taken aback that nobody else appreciates his inanely insightful soliloquies. There's not a whole lot to the plot, until the second half when Dawson's character reveals a secret that causes an overriding dilemma - effortlessly clicking into a more dramatic mode - but, a paying audience's enjoyment is primarily locked up in the crisp dialogue that consistently crackles amongst this cast. If they could bottle that level of on-screen chemistry, they'd own Hollywood in a fortnight. Favourites also definitely include Randal's rudely patronizing and homophobic diatribe about 'The Lord of the Rings' movies, his nonsensical insistence that a particularly ignorant epithet be embraced as an endearing nickname, and the scenario involving Graves' "inter species erotica" going away stage show organized for Hicks later on. They also obviously have a blast making this feature, and that contagious enthusiasm easily translates from the big screen. I'd read that there's been an animated flick in the works for a couple of years that reportedly carries on from the short lived television cartoon series, and it's clear that after screening 'Mallrats' (1995), 'Dogma' (1999), 'Jay and Silent Bob Strike Back' (2001) and now 'Clerks 2', there's still a wealth of potentially impressive, wildly over-the-top material available for Smith to continue riding that dozen year-old rocket much further. Good stuff. Absolutely check out 'Clerks 2' for an all out riotous, strictly adults only good time at the movies.

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Le Couperet
REVIEWED 08/06, © STEPHEN BOURNE
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REVIEW:

Desperately frustrated with not being able to land fitting employment in his field of expertise for two years, forty-one year-old family man and former fifteen year veteran Kamer Stationery paper mill executive Bruno Davert (José Garcia; 'La vérité si je mens' (1997), 'Quatre étoiles' (2006)) decides that his only remaining course of action is to set up a bogus company through his local suburban Parisian Post Office in order to entice job seeking rival professionals to submit their résumés as managerial candidates, in this wonderfully macabre subtitled 2005 French comedy from Academy Award and Cannes winning co-writer/director Constantin Costa-Gavras ('Z' (1969), 'Music Box' (1989)) based on American author Donald E. Westlake's 1997 novel The Ax, where Davert's true intentions for identifying and eliminating his competition in the high stakes corporate interview process quickly become gruesomely clear when he uses the contact information on those mailed job applications to hunt down and kill anyone who could potentially stand in the way of him getting a coveted plum position that Bruno plans to make vacant soon enough...

Wow, this is such a thoroughly enjoyable and funny low key shocker from beginning to closing credits. The somewhat outrageously chilling plot masterfully clicks into place at every pivotal moment throughout, as Costa-Gavras' and Jean-Claude Grumberg's screenplay capably pulls you into this otherwise unassuming and likable man's career building murderous spree. Sure, there are vague similarities to 'The Temp' (1993), but this is a wider canvas that's much less theatrical and is actually interested in looking at how those dire criminal acts affect the perpetrator in fascinating ways. 'The Ax' (its English title) isn't a physical comedy filled romp that plays up the laughs, either. Garcia is phenomenal here. You're never given a reason to hate his emotionally confused character, even though the consequences of his crazy scheming are brutally horrible. Using a WWII Luger and ammunition found in his father's rusty old foot locker, Bruno shoots his victims one by one at point blank range, coolly maintaining his prim composure when the police arrive at his door to warn him that a killer of laid off paper managers is on the loose. Only his wife Marlène (beautifully underplayed by Karin Viard; 'Delicatessen' (1991), 'Les enfants' (2005)) becomes suspicious of his strange recent behaviour, but even she doesn't imagine the rather bloody extent at which Bruno is getting his hands dirty towards diligently securing full time work. The pacing and dialogue is outstanding. It's quite simply an amazingly original story that's crisp and fully realized in the final cut, made even more tantalizing by how relatively believable the characters are thoughtfully portrayed by this superior cast that also includes Geordy Monfils and Christa Theret as the Davert's adolescent children Maxime and Betty, Olivier Gourmet ('Le fils' (2002)) and Ulrich Tukur ('Solaris' (2002)) portraying unwitting targets Raymond Machefer and Gérard Hutchinson respectively, and Dieudonné Kabongo Bashila ('Dief!' (1998)) as marriage counselor Quinlan Longus who Marlène convinces Bruno they should consult out of concern that their relationship is in crisis. One of many hilarious moments comes out of their initial session, where Davert momentarily obsesses that his wife is having a passionate affair with almost every guy she's left alone with. Those quirky peripheral blasts of freshness that playfully exaggerate basic human foibles truly add yet another fun dimension to this already high caliber hundred and twenty-two minute cinematic gem. Absolutely check out this consistently imaginative and thoroughly satisfying foreign flick filled with great dark humour and an impressive cast of talent.

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Crank
REVIEWED 09/06, © STEPHEN BOURNE
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REVIEW:

Shortly after accepting an unsanctioned contract on Chinese gangster Don Kim's (Keone Young) life, small time Los Angeles hit man Chev Chelios (Jason Statham; 'Lock, Stock and Two Smoking Barrels' (1998), 'Transporter 2' (2005)) wakes to discover that smug rival heavy Ricky Verona (Jose Pablo Cantillo; 'The Manchurian Candidate' (2004)) has surreptitiously injected him with a lethal, adrenaline inhibiting drug called "The Beijing Cocktail" that Chev's longtime pal Doc Miles (Dwight Yoakam; 'Sling Blade' (1996), 'Panic Room' (2002)) confirms will kill him within the hour if Chelios fails to keep his heart pumping until Myles can return from Las Vegas to hopefully cure him, in feature debuting writer/director team Mark Neveldine and Brian Taylor's wonderfully stylish and irreverent mature dark comedy, where Chelios throws himself into high velocity overdrive in an effort to stay alive long enough to sate his brutal thirst for revenge against Verona with the tenuous help of sidekick Kaylo (Efren Ramirez; 'Kazaam' (1996), 'Napoleon Dynamite' (2004)).

Wow. It's pretty well a foregone conclusion that this oftentimes raw and rollicking eighty-seven minute flick will quickly become a Cult favourite with gamers and fans of big screen B-movie bad behaviour. In other ways, this one may as well have been called 'Transporter 3'. Many of the familiar elements from Statham's previous starring action movies do make their way into this one. The influences of quirky gore kings Roger Corman and Quentin Tarantino are also clearly obvious, as are Robert Rodriguez. Sure, it's got loads of flaws, and isn't as slick or heavy as the 'Kill Bill' (2003/4) twins. The acting here is fairly mediocre and uncompelling, for one thing. As well, all of the characters are little more than stereotypical cardboard finger puppets. It's loads of gritty over-the-top fun, though. 'Crank' truly has an incredibly fresh, experimental swagger to it that's cleverly sustained right through to the closing credits. It does begin to lose momentum around midway, but that merely seems to be the result of a paying audience being given measurably more story to chew on, so that what plays out doesn't become too much of a numbingly mindless roller coaster ride of car chases and gun play and naked boobies. You can't help but be willingly buckled in to this cinematic meat grinder and want to know what finally happens, because the entire premise is delightfully weird and edgy as presented in the final cut. Still predominantly a superficially exploitive live action cartoon, it cleverly energizes the relatively unsurprising revenge film genre with a contagiously thrashing Punk soundtrack, while taking the story in a slightly different direction. The screenplay gleefully regales in the cesspool of vices that Chelios instinctively snorts and chugs down, slams through and gropes at here, as he rather loosely careens across town to a hospital pharmacy after killing Verona's brother - making an unexpected detour to protect clueless girlfriend Eve (Amy Smart; 'The Butterfly Effect' (2004), 'Just Friends' (2005)) - and then eventually onward to face his killer. Much of the stunt work is fairly low tech, apparently only sparingly relying on CGI effects that, in one hilarious scene, toss a car on its side onto a shopping mall's upward escalator. The post-production tricks are also a blast, where editor Brian Berdan playfully enriches 'Crank' with sharp split screens and stuttering jolts to cinematographer Adam Biddle's imaginative camera work. Quite a few of the visuals are memorably stunning, in part easily eclipsed by the wryly macabre dialogue that's hammered out during the more outrageously funny moments. Good stuff. Over-all, the story is loosely played and rough around the edges, but 'Crank' is deliriously enjoyable irreverent mayhem at its all time best and definitely has the makings of becoming a must-see Cult favourite if not a big screen inspiration in its own right.

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Catch a Fire
REVIEWED 10/06, © STEPHEN BOURNE
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REVIEW:

Mildly flirtatious yet strongly inculcated Aparthied South African township Boys Soccer coach and happily married Secunda Oil Refinery foreman Patrick Chamusso (Derek Luke; 'Antwone Fisher' (2002), 'Friday Night Lights' (2004)) is wrongly accused of bombing his work place, ending up being arrested and tortured along with his friends Zuko (Mncedisi Shabangu; 'Hijack Stories' (2000)) and Johnny (Mpho Lovinga; 'Final Solution' (2001), 'Max and Mona' (2004)) under the supervision of dogged Anti-Terrorist Squad Investigator Nic Vos (Tim Robbins; 'Howard the Duck' (1986), 'Zathura: A Space Adventure' (2005)), in this outstanding and powerful screen adaptation from director Phillip Noyce ('Clear and Present Danger' (1994), 'Rabbit-Proof Fence' (2002)) of the real Chamusso's experiences from 1980 to 1991, where a brutalized and changed Patrick surprisingly reappears in Vos' dossier of suspected terrorists trained and organized in Mozambique as self proclaimed freedom fighters under the outlawed African National Congress, and it quickly becomes clear that more bombings will occur if Chamusso isn't stopped once he returns home.

Well, I'll give it an honest effort, but mere words simply can't describe how incredibly compelling this hundred and one-minute film truly is. 'Catch a Fire' initially plays out as though you're possibly being set up to be spoon fed a load of sugary propaganda about likable but misunderstood champions of Guerrilla warfare, but it soon becomes obvious that this is more a cinematic slice of life that carefully focuses on a volatile moment in the world's recent past and how it emotionally affects lives, much like 'Hotel Rwanda' (2004) but without the typical Hollywood moments. The whole notion that this one reasonably good man who has grown up choosing to subjugate himself and his family to a nationwide system of oppression as being normal then turns his will against that same system of oppression after he's clearly and unjustly experienced its wrath, is captivating enough for a movie of any caliber. I'm not condoning the reality of Patrick Chamusso's actual choices to fight Aparthied using violence, nor can I be particularly sanctimonious as a privileged White Canadian in vilifying a form of racial segregation similarly enacted by my own country's government against its Aboriginal population throughout history. However, it truly is amazing seeing how Luke as Chamusso is transformed from essentially being a tenuously responsible, marginalized blue collar worker who wants to avoid controversy to the point of accepting bigoted epithets at work and not wanting his radio at home tuned to the ANC station. Unsurprisingly, Luke shines throughout, quite possibly giving one of the best performances of his relatively short career. The subject matter helps, as does the way in which Noyce chooses to keep 'Catch a Fire' unsophisticated and completely outside the realm of politics. Luke pulls you in and locks your attention from beginning to closing credits, simply by seamlessly and fully assuming this persona as though it's his own. Most of his performance comes from his eyes. As far as Vos is concerned, it doesn't really matter what Chamusso is guilty of, as long as the truth is uncovered. When it's calmly explained that South Africa will become a puppet of Russia if the ANC wins, you can tangibly sense one mindset that thinks this is bad, and another mindset that can't see it being any worse. Robbins' hard line approach as Vos in dealing with Chamusso during both times that their paths cross is chillingly mechanical, appropriately bereft of uncalculated external emotions or empathy, in stylistically personifying the system that this officer represents to South African Blacks. He's the real reason behind Chamusso's transformation, and Robbins masterfully presents you with a terrifying antagonist. This perfect cast of talent also includes Bonnie "Henna" Mbuli ('Drum' (2004)) portraying Patrick's jealousy driven wife Precious, Terry Pheto ('Tsotsi' (2005)) as his former girlfriend Miriam, and Michele Burgers ('Jump the Gun' (1997), 'Malunde' (2001)) playing Nic's personable yet stern eyed wife Anna. Absolutely do yourself a huge favour and check out this consistently superior sleeper hit dramatization that will likely stay with you long afterwards.

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Casino Royale
REVIEWED 11/06, © STEPHEN BOURNE
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REVIEW:

Ordered to lay low after his first covert mission as a 00 operative brings less than satisfactory results in MI6's attempts to uncover an elusive yet organized network of terrorist activities, James Bond (Daniel Craig; 'Lara Croft: Tomb Raider' (2001), 'Infamous' (2006)) surreptitiously tracks down minor middleman Alex Dimitrios (Simon Abkarian; 'Ve'Lakhta Lehe Isha' (2004), 'Yes' (2004)) before setting his sights on Dimitrios' shadowy boss: known criminal financier Le Chiffre (Mads Mikkelsen; 'Wilbur Wants to Kill Himself' (2002), 'King Arthur' (2004)), in this surprisingly disjointed and dull adaptation from director Martin Campbell ('GoldenEye' (1995), 'The Legend of Zorro' (2005)) of the first in the series of novels and short stories that began in 1953 from Brit writer Ian Fleming's (1908-1964) famed English gentleman spy James Bond, where Bond is teamed up British National Treasury associate Vesper Lynd (Eva Green; 'The Dreamers' (2003), 'Kingdom of Heaven' (2005)) and sent to bankrupt Le Chiffre at a private high stakes poker game at the Casino Royale in Montenegro.

Okay, apart from the fact that James Bond's game is Baccarat, and middle aged Craig already seems too old to guarantee his longevity as the latest and most unfaithful Bond to step into this role since Sean Connery starred in the inaugural 'Dr. No' (1962), probably the worst thing about this official version of 'Casino Royale' and apparent reboot of the twenty-four year film franchise is that it doesn't really feel like a proper James Bond movie. It feels more like a thinly veiled attempt at ripping off aspects of past Bond movies, without really bothering to provide you with an imaginative story. It's definitely not as clever nor as enjoyable as the last one, the unabashedly fun homage, 'Die Another Day' (2002). Sure, a majority of the action sequences in this one are absolutely astounding, thanks in large part to cinematographer Phil Meheux's wonderful camera work deftly capturing the relentless adrenaline rush throughout those break neck moments. I also like that Craig's Bond shows the wear and tear of his fist fights and bare knuckled bravery. They at least get the grittiness right. Unfortunately, it loses stamina. What's left of this much anticipated hundred and forty-four minute feature after the eye popping stunts subside is tantamount to a whole load of stagnant talking heads not really saying anything particularly interesting. The dramatic scenes fail miserably, to the point where if I had never seen any of the previous Bond pictures, this 'Casino Royale' - which shares no resemblance to the Oscar nominated 1967 titular parody - wouldn't inspire me to care about what all of the fuss has been about for the past quarter century. The plot merely plods along. The screenplay by Neal Purvis, Robert Wade and Paul Haggis also relies on a lazy need for self-referential props and dialogue - similar to those in 'Die Another Day', except tired and wastefully corny - completely forgetting that this is supposedly a fresh direction for Agent 007. As a fan, I wanted to finally see what Bond was like before he became "Bond, James Bond". It doesn't happen. I wanted to witness the emergence of specific traits that distinguish this fictitious MI6's 00 agents from run of the mill spies. All Bond does is kill two people before the outrageously silly opening credits, and he's instantly promoted. It's ridiculous. Craig has certainly proven his capabilities as a leading man in his previous efforts, but his performance here remains aggravatingly two-dimensional for the most part. There's no memorable personality to hold the attention of a paying audience, when he's not lurching himself onto moving vehicles or killing baddies at point blank range like anyone could have just as easily done if cast in that part. What's equally annoying is that there's no tangible ending. It's not even a cliff hanger. yawn. With nothing new or particularly impressive to replace its notable absence of virtually everything except the stunts that made this franchise a joy to revisit on the small screen, 'Casino Royale' is probably the most disappointing and consistently boring Bond flick ever seen on the big screen.

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Children of Men
REVIEWED 01/07, © STEPHEN BOURNE
www.ofrb.gov.on.ca | www.rcq.gouv.qc.ca


REVIEW:

British Ministry of Energy civil servant Theo Faron (Clive Owen; 'Closer' (2004), 'Inside Man' (2006)) is suddenly jolted out of his hopeless grey life in November 2027 by the reappearance of his ex-wife and outlawed activist Julian Taylor (Julianne Moore; 'Boogie Nights' (1997), 'Laws of Attraction' (2004)) after twenty years of estrangement, eighteen years after human infertility has left the entire planet without children and gripped by conflict, intolerance and martial law, in this relentlessly grim and visually stunning sci-fi drama from co-writer/director Alfonso Cuarón ('Y tu mamá también' (2001), 'Harry Potter and the Prisoner of Azkaban' (2004)) that's based on British crime novelist P.D. James' 1993 book, where Julian convinces Theo to provide transport documents that will let her militia-like underground group headed by unassuming leader Luke (Chiwetel Ejiofor; 'Love Actually' (2003), 'Kinky Boots' (2005)) covertly take a young pregnant refugee woman name Kee (Claire-Hope Ashitey; 'Shooting Dogs' (2005)) out of England to an awaiting ship destined for a safe haven known as The Human Project, and he slowly realizes that his involvement puts him in greater danger than imagined and that nothing and no-one can be trusted.

Holy cripes, this is such an astoundingly intense film. Full marks go to Cuarón and co-screenwriters Timothy J. Sexton, David Arata, Mark Fergus and Hawk Ostby for creating an overwhelming sense of emotional atrophy that cinematographer Emmanuel Lubezki deftly captures with the lens of a news camera man caught in the crossfire. In fact, 'Children of Men' is predominantly Lubezki's movie, considering that it owes much of its memorable impact to how each major scene is carefully shot in one continuous take. This mastery becomes even more evident later on, when all hell breaks loose at almost every turn, and a paying audience suddenly realizes that the safety of the screen has evaporated. You have unwittingly been grabbed by the collar and plunged head first into this film. Awesome. Owen and Moore seamlessly immerse themselves in their roles, giving you full access to an incredible depth of splintered raw emotion that's rarely seen done as consistently well. That's probably why it feels so grim. You can't help but empathize with their personal plights, while following them through the maze of events that transpire throughout the course of this picture's hundred and nine-minute run time. Everything you see serves the story from the gut. You can feel the grit from this piece get under your fingernails. Even the peripheral moments involving Theo's friendship to aged recluse Jasper (Michael Caine; 'The Italian Job' (1969), 'Batman Begins' (2005)) supports the plot by cleverly fleshing out some of the circumstances that have ultimately left humanity in this devastated state of decay and eroded morality. It's the type of science fiction that merely takes a small step into the future, where most everything is still eerily familiar and horribly plausible. What's also wonderful is that Ashitey's role as Kee isn't simply of a meek and fragile one-dimensional character, she's an equally strong individual with a wry, intelligent sense of humour that comes out at the most unexpected times. Hilarious. Absolutely check out this rather dire yet immensely satisfying cinematic masterpiece for its incredibly superior presentation of an unforgettable story.

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