family film reviews

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Dirty Harry Reviewed By Slyder Posted 09/26/04 06:40:45

"A hard-hitting ass kicker of a film" (Awesome)

Up till the end of the 60’s Clint Eastwood was known as a western hero due to his and Sergio Leone’s Man with No Name Trilogy, and he had flirted a couple of times with different genres with the decent Coogan’s Bluff, the war thriller Kelly’s Heroes and his directorial debut in Play Misty for Me, but it wasn’t until this little film in which Eastwood fully broke out of the Western genre and into full-fledged star. Directed by the legendary Don Siegel, Dirty Harry followed The French Connection’s revolution of the cop thriller genre, while making a mark of its own right imposing one of the most memorable characters ever on screen and spawning countless imitators, notably the Charles Bronson vehicle Death Wish."Dirty” Harry Callahan (Eastwood) is a tough motherfucker cop whose only policy is to shoot first and ask questions later if you want, and get the bad guys regardless of politics. He’s called "Dirty" Harry because in his own words, they always give him the dirty jobs. Recently, a serial killer named Scorpio (Andy Robinson) is on the loose and has kidnapped a teenager in exchange for money, and the Mayor (John Vernon) does not want any blood spilled and tries to meet his demands. But Harry will not take any shit, as he will go after Scorpio by any means necessary and the constitution be damned.There’s really not much to discuss here: The movie’s fucking perfect, as Siegel and cinematographer (and longtime Eastwood collaborator) Bruce Surtees capture the naked lifestyle of the 70’s as well as the now dated driving score of Lalo Schifrin. The film’s structure is simple, but within that simplicity lies a complex and engrossing piece of work that is as effective today as it was back in its heyday. The violence is of course tame by today’s standards but it’s still psychologically effective. Several of the movie’s moves are clichés by today’s standards and have been done and redone to ad-nauseaum, but this film is absolved since it’s the one who pretty much invented those clichés.The heart of the film of course is in the character itself, and Clint Eastwood grabs the role and makes it his own. His screen presence is fearsome and effective even to this day. Sure, today you see action movies with the heroes packing a shitload of guns and involving several explosions and dead bodies, but compared to Dirty Harry, none hold a bag of shit to it. Eastwood’s own quiet yet snarly voice and his .44 Magnum six-shooter is all that it takes, and the action he gives is hard hitting especially since Harry isn’t somebody who shoots for the hell of it and he’s a fucking hell of a good shot. Apart from Eastwood, Andy Robinson as the killer also gives out a memorable performance of his own matching Eastwood pretty much scene by scene. Liberals who watch this film will always fume at this film just the same way they would fume 3 years later with Death Wish due to its fascist right-wing politics but hey, these are the same people that bring us the flawed judicial system which we live in and the one that’s capable of even letting white-collar and blue-collar criminals walk away and sometimes is by its own means incompetent, hence the existence of this film. And there will be cases in which sometimes the ends DO justify the means due to these same flaws and whenever the shit goes too far, sometimes you’ll have to take matters into your own hands. That’s just the nature of the human race, and no law can change that since we’re born with it.In the end, this is one of the best cop movies ever, and whether or not you agree with its ends-justify-the-means politics, it remains a cornerstone in the genre and a definite must see. Watch it by all means… PUNK! 5-5
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DOWNLOAD MOVIE Family Stone, The Just $2.99 for a complete movie! No additional software or browser plug-ins required! You can play them for unlimited number of times whenever you want. Downloaded movies will work perfectly on any PC, DVD player, PDA etc.
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Family Stone, The

Filmmaker Thomas Bezucha follows up his little seen 2000 effort Big Eden with The Family Stone, a Christmas comedy about the titular family who reunite for the holidays as always but there’s something different this time, eldest son Everett is bringing home his fiancée Meredith, whom they’ve never met before, but they are all going to hate, and the result is a funny and at times touching story of family love.

I should correct myself, because not all of them haven’t met the outsider. Amy (played by Hollywood’s It Girl Rachel McAdams), the youngest daughter did, and she hates her. She met her once, she tells the family before Everett and Meredith arrive, and then she goes on and on about all of Meredith’s faults, and so there’s no way the girl has a chance. Dermot Mulroney plays Everett and Sarah Jessica Parker, in her first released work after Sex and the City (she has a role in Strangers with Candy which was delayed to next year), plays the uptight, business driven, big talker and icy looking Meredith.

When we first met her we know she’s a bitch, but the minute she steps into the house we can’t help but suffer for her. The way they treat her is horrendous, and there’s a point when she even has to get out of there and move to the local inn to escape from then, and get her sister Julie (Claire Danes) to get there as soon as possible for support.

Two Stones so far, and there’s more to go. The other big piece of the romantic part of puzzle is Everett and Amy’s brother Ben (played by Luke Wilson), the easy going and free spirit member of the family. The other siblings are Susannah (Elizabeth Reaser) who has a young daughter and is currently pregnant, and Thad (Ty Giordano) who is deaf and gay, and has a partner in Patrick (Brian White), who happens to be African-American. And finally the parents, who headline the serious part of the movie, Sybil (Diane Keaton) and Kelly (Craig T. Nelson), and they are keeping a secret from most of their kids.

There will be drama and comedy, laughing and crying, loving and hating, but at the end the will be happy together because after all, this is a family movie and set on Christmas, so you can’t complain about that. Still, the movie works because of the very strong acting, led by Sarah Jessica Parker who gives a great performance and could get a supporting nod (if they go for that) at the Oscars, once everyone realizes that the one we all thought was going to steal the movie didn’t. And that is Diane Keaton, who is pretty good too, but though it seemed like this was an Oscar grabber role for her, the part is surprisingly small and in the background of the others. Manipulative with our emotions, even. Luke Wilson and Rachel McAdams play their characters really great too.

With so many characters to work on (McAdams’ Amy even gets a second subplot as All the Real Girls’ Paul Schneider shows up late in the movie as a former boyfriend), Bezucha is not able to really develop them as they should, and so some of them, even the big names, get just really great scenes but overall you can tell there’s something missing for the story to completely work. I do thank Bezucha though, for not getting all melodramatic towards the end when you can tell that is going to be a cry fest, but he does it in a different way and it works very well. Thanks to very good acting and a couple of great scenes, The Family Stone is not a great movie but is good enough, and definitely worth watching.

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DOWNLOAD MOVIE Lara Croft: Tomb Raider Just $2.99 for a complete movie! No additional software or browser plug-ins required! You can play them for unlimited number of times whenever you want. Downloaded movies will work perfectly on any PC, DVD player, PDA etc.
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The Movie:
Considering how shamelessly most video games steal all of their ideas from Hollywood movies, why is it that Hollywood still can’t make a decent movie adaptation out of a game? Some of the best games have really juicy concepts and characters that should lend themselves well to a big screen reworking. Talented people have tried and great sums of money have been expended in the attempt, yet time after time we wind up with garbage like Wing Commander, Doom, or Lara Croft: Tomb Raider.

Angelina Jolie stars in the latter as Lady Lara Croft, a wealthy adventuress who’s well-endowed in multiple senses of the term. The appeal of the game is obvious; our heroine is a cross between Indiana Jones and James Bond, with enormous breasts and a waist the diameter of a nickel. With guns, gadgets, and a Wonderbra-enhanced tight T-shirt at her disposal, Lara runs, jumps, and jiggles her way through all manner of exciting scenarios in a globe-hopping adventure in search of exotic treasures. So follows the movie, only much louder.

The plot, as if anyone cares, has Lady Croft seeking out the two halves of a magical triangle (seriously!) that’s the key element of an ancient conspiracy involving planetary alignments, secret societies, time portals, and other ridiculous nonsense. To find them she’ll have to travel first to Cambodia (don’t forget to pick up a baby while you’re there, Angie) then to Siberia, in both places navigating through underground labyrinths, avoiding elaborate booby traps (no pun intended), and solving puzzles. Oh yes, she also has to shoot and blow up stuff. A lot.

The movie is loud, stupid, and boring. Directed by Simon West (Con Air, The General’s Daughter), the picture is jumpy and never establishes a consistent tone from one scene to the next. The idiotic plot is so low on anyone’s list of priorities that almost no attempt is made to explain what’s happening, why the characters need their mystical thingamajig, or what it does. The uneasy mix of sci-fi and supernatural elements is also never properly established; we seem to be in a typical shoot-’em-up action movie, until from out of nowhere statues come to life and people start jumping backwards and forwards in time. Each scene simply provides a new excuse to blow up something new, but even to that end the action sequences are shot and edited incoherently. There’s always a lot of random activity going on, illustrated with generally lousy CGI, and you can never quite tell what any of it is or means.

Tomb Raider is an unpleasant mess that just gets dumber and more obnoxious as it goes. Angelina Jolie would later prove herself a compelling action star in Mr. & Mrs. Smith, but all this movie (and its equally dumb sequel) offer her are the opportunity to strut around in a push-up bra and spandex bike shorts with guns strapped to her thighs. Yeah, she looks hot, but that’s not enough to justify 100 minutes of tedium.

The Blu-ray Disc:
Lara Croft: Tomb Raider debuts on the Blu-ray format courtesy of Paramount Home Entertainment. The studio previously released the title on HD DVD in July of this year.

Blu-ray discs are only playable in a compatible Blu-ray player. They will not function in a standard DVD player or in an HD DVD player. Please note that the star rating scales for video and audio are relative to other High Definition disc content, not to traditional DVD.

Video:
The Tomb Raider Blu-ray is encoded in High Definition 1080p format using MPEG2 compression on a single-layer 25 gb disc. The movie is presented in its theatrical aspect ratio of approximately 2.35:1 with letterbox bars at the top and bottom of the 16:9 frame.

For an $80 million production, the movie has really blasé photography that’s for the most part grainy, dull, and flat. I’m sure this was deliberate, but like so much else about the film it serves little artistic purpose. The High Definition image has only moderate sharpness and detail. I’m sure it’s better than the comparable DVD edition, but it’s nothing special by HD standards. Wide shots are frequently soft, there’s little sense of depth, and colors are merely adequate without much pop to them. Aside from some specks on the source elements, I don’t have anything specific I can pinpoint as being wrong with the disc mastering. The transfer is probably as faithful as it can be. This just isn’t a very dynamic-looking movie.

The Tomb Raider Blu-ray disc is not flagged with an Image Constraint Token and will play in full High Definition quality over a Blu-ray player’s analog Component Video outputs.

Audio:
The movie’s soundtrack is provided in standard Dolby Digital 5.1 or DTS 5.1 formats. I compared the two and found the DTS track fuller and more involving. That said, this is a by-the-numbers summer action movie mix heavy on the bass and light on anything resembling subtlety or nuance. The only appropriate way to describe the soundtrack is loud no matter what volume you set it for. Bass is boomy and seriously overcooked, to the point where your walls will still be shaking even after you’ve reduced the dialogue and sound effects to a whisper. Naturally, the surround channels are also constantly buzzing with bullet ricochets and stuff blowing up behind you. This is certainly an aggressive, immersive mix, but one more grating than impressive. Audio fidelity is pretty blah overall. There’s a ringing bell in the Siberia portion of the movie that resounds nicely through the soundstage, but otherwise gunshots and sound effects are much duller than expected.

Subs & Dubs:
Optional subtitles – English, English captions for the hearing impaired, French, or Spanish.
Alternate language tracks - French or Spanish DD 5.1.

Extras:
The disc automatically opens with a lengthy HD DVD promo that can fortunately be skipped but is a nuisance. All of the supplements from the DVD edition have been carried over, plus a couple of trailers. All features are presented in Standard Definition video with MPEG2 compression, except the trailers which are encoded in High Definition using VC-1.

• Audio Commentary - Director Simon West focuses on the technical and logistical aspects of the production, such as the hassle of digitally painting out Jolie’s many tattoos in any scene where she shows skin.
• Digging Into Tomb Raider (25 min.) – A decent making-of piece covering development and production of the movie from game to screen. Stunts and visual effects are discussed, along with a bunch of promotional nonsense about the “spiritual heart of the film”. Whatever.
• Crafting Lara Croft (7 min.) – A look at Angelina’s workout and training regimen to prepare for the role. She learns fighting and weapons techniques, and we get to laugh at the “Billy Bob Forever” tattoo on her arm.
• The Visual Effects of Tomb Raider (20 min.) – A breakdown of 8 major VFX pieces from the movie. Hey look, it’s all done in a computer! Wowzers! Never would’ve guessed that.
• The Stunts of Tomb Raider (9 min.) – So Angie did all of her own stunts, huh? Yeah, sure, I believe that.
• Are You Game? (8 min.) – Background history of the video game franchise. The primitive Playstation graphics are hilarious, but even funnier are the game developers trying very hard to divert attention from the real source of Lara Croft’s popularity, her gigantic boobs.
• Deleted Scenes (7 min.) – Four scenes that might have actually explained or advanced the plot of the movie, so clearly they had to go.
• Alternate Main Title - This opening title sequence was much too cool for the movie, so it had to go too.
• U2 Elevation (4 min.) – A movie tie-in music video that at least tries half-heartedly to play around with the standard format for such things. The band members are digitally inserted into clips from the movie, though without any rhyme or reason. Then there’s a about $4 million worth of cheesy, overdone “Bullet Time” visual effects and explosions going on for no particular reason while the band plays.

Missing from the DVD edition are an easter egg interview with Jolie and her father (if it’s on the disc I didn’t spot it, though admittedly I didn’t put much effort into looking) and some DVD-Rom games and crap. None are significant losses. New to the Blu-ray are:

• Teaser Trailer (2 min.) – Presented in High Definition.
• Theatrical Trailer (2 min.) – Also presented in HD.

Final Thoughts:
As a movie, Lara Croft: Tomb Raider just plain stinks. As High Definition eye candy it’s nothing special either. This is strictly rental material.

Related Articles:
Silent Hill (Blu-ray)
Sky Captain and the World of Tomorrow (Blu-ray)
HD Review Index
High-Def Revolution – DVDTalk’s HD Column
Samsung BD-P1000 Blu-ray Player

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DOWNLOAD MOVIE Patriot Games Just $2.99 for a complete movie! No additional software or browser plug-ins required! You can play them for unlimited number of times whenever you want. Downloaded movies will work perfectly on any PC, DVD player, PDA etc.
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Patriot Games ***1/2 (out of 5) (1992)

Cast: Harrison Ford, Anne Archer, Patrick Bergin, Sean Bean, Thora Birch

Directed by Philip Noyce

CIA agent Jack Ryan is back, this time on vacation in England when he stops an assassination attempt on a member of the Royal Family by a band of Irish terrorists. In the scuffle, Ryan kills a young lad and the terrorists vow revenge on Ryan and his family.

Nice action sequences and credible acting puncuate this intelligent second entry in the Jack Ryan saga. Ford replaces Alec Baldwin, who portrayed starred in the first film THE HUNT FOR RED OCTOBER, and gives the role more believability and depth with convincing results. Though the plot isn’t the most interesting, nor the situations particularly as dire as in the first flick, this definitely delivers all of the action and intrigue you’d expect from a Clancy novel.

Back to Qwipster’s Movie Reviews

 

 

 

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DOWNLOAD MOVIE Back to the Future Just $2.99 for a complete movie! No additional software or browser plug-ins required! You can play them for unlimited number of times whenever you want. Downloaded movies will work perfectly on any PC, DVD player, PDA etc.
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Back to the Future
Released back in the early 90s on the Widescreen VHS Box-set, this
20-minute
documentary was one of the first "Extra features" that now seem to be
taking
over the DVD industry.

As an owner of this set for over a decade, I can say that I think I’ve
watched this 4th tape a total of 2 or 3 times. As with all bonus stuff,
the
novelty soon wears off, and after you have seen the 3 or 4 cut scenes, you
just end up cursing at the overacted introduction and pointless links by
the
has-been host.

I sometimes worry that so much focus and attention is paid to these
features: they are unrewarding and never come close to bringing the
excitement that they promise- and this one is a prime example of something
that never lives up to the hype. The interviews do provide some insight
into
the special effects, but all of this has been available in text form on
websites anyway (where you can also copy/paste/print/zoom/etc). So if you
were a fan you would already know it all.

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DOWNLOAD MOVIE Dirty Just $2.99 for a complete movie! No additional software or browser plug-ins required! You can play them for unlimited number of times whenever you want. Downloaded movies will work perfectly on any PC, DVD player, PDA etc.
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A Funny Dirty Little War (1983)

NEW DIRECTORS/ NEW FILMS;

ARGENTINA’S ‘FUNNY DIRTY LITTLE WAR’

After the 1955 coup that ended his 11-year dictatorship, former President Juan Peron of Argentina settled in Spain, leaving behind him economic and emotional chaos, runaway inflation and a number of public works, including a huge international airport that, even at occasional rush hours, looked unused.

Also left behind was the nebulous heritage of Peronism, which, in the 16 years between Peron’s departure and return, became all things to all people. A new generation of leftists grew up to interpet Peronism as a kind of Argentine Marxism and to revere Peron for having at long last given Argentina a national identity.

The members of the Argentine right were appalled but, recognizing an opportunity when they saw it, they didn’t object too strongly. After all, it wasn’t easy to know what, if any, consistent philosophy Peron represented, especially after the death in 1952 of his political co-star and wife, Eva. This radical right realized that the first goal was to bring Peron home and, if that meant accepting the support of the radical left, so be it.

This, in turn, led to a certain amount of confusion when, in 1971, the aging dictator returned in triumph, accompanied by his new wife, Isabel, a former dancer. Isabel became Pero n’s Vice President when he was re-elected President in 1973 and his successor on his death 10 months later.

This background is necessary to appreciate fully Hector Olivera’s mordantly funny, furious, Argentine film, ”Funny Dirty Little War” (No Habra Mas Penas Ni Olvido), a movie that begins as a rather picturesque comedy of provincial manners and quickly evolves into a harrowing, satiric demonstration of the ease - and self-righteousness - with which quite commonplace ”good” people can turn murderously mean.

The film, for which Mr. Olivera won the award as the best director at last year’s Berlin Film Festival, will be shown at the Museum of Modern Art today at 6 P.M. in the New Directors/New Films festival, sponsored jointly by the Film Society of Lincoln Center and the museum’s department of film. The showing will be repeated tomorrow at 3:30 P.M.

”Funny Dirty Little War,” written by Mr. Olivera and Roberto Cossa, based on a novel by Osvaldo Soriano, is set on a day in 1974, shortly before Peron’s death, in a small town called Colonna Vela, where the rickety alliance between the Peronist right and left falls completely to pieces.

The day begins much like any other. A decrepit automobile, decorated with the head of a dragon on its hood and a dragon’s tail on its rear, moves slowly through the streets while its driver, using a not-great public-address system, announces a once-in-a-liftime sale at the local department store. Ignacio Fuentes (Federico Luppi), the town’s practical, seemingly apolitical administrator, has a brief argument with Suprino (Hector Bidonde), the local Peronist party boss who has bought a van from Ignacio but hasn’t as yet paid for it.

Word comes from the capital to Suprino, through the mayor of a neighboring town, to ”root out” the local Marxists in obvious anticipation of a party power struggle after Pero n’s death. In the case of Colonna Vela, this is taken to mean getting rid of one man, a mild-mannered fellow named Mateo, who is Ignacio’s assistant at the town hall and who appears to have no personality whatsoever, not to mention any politics. He’s a polite vacuum.

Ignacio refuses to hand Mateo over to two bumbling national guardsmen, not for ideological reasons but because there are no legal grounds. The movie gathers comic momentum as Ignacio, realizing that the police chief will attempt to seize the town hall, enlists the aid of the town drunk, plus one of the two guardsmen, whose help he obtains by raising him to the rank of corporal.

The entire population begins to find the coming confrontation hilarious. The leftist members of the Peronist youth league join Ignacio, but their discipline is, initially, worse than that of a group of raw Cub Scouts. The drunk calls in his pal, a none-too-sober crop-duster, who uses his ”Snoopy” biplane to ”dust” the tiny mob gathering in front of the town hall. One thing leads to another and, by evening, real bullets are being fired, reporters are arriving from Buenos Aires, and real cigarettes are being stubbed out on a real ”prisoner of war” to make him confess.

The ferocity of the violence that erupts is not easy to watch, especially after the seeming high spirits of the events that have preceded it. The laughs die away but the essential comedy remains. At the height of the mini-battle, grossly vulgar, slapstick stratagems are put into effect. One fellow is harmlessly bopped on the head in one scene, followed by a scene in which another man is fatally detonated, all of which is, of course, Mr. Olivera’s point: the entire population has become lunatic.

Microcosms of this sort aren’t usually very effective. Everything and everybody must be reduced and simplified to fit a prearranged plan. Mr. Olivera and his associates have not entirely avoided this problem, but they have created a group of comically idiosyncratic characters whose wild behavior appears to explode naturally, given the extraordinary situation Colonna Vela is in.

The film has also been so cannily paced - and is so well acted - that there’s never much time to consider larger meanings while the mayhem is going on. Though ”Funny Dirty Little War” ends bleakly, the existence of the film itself - the fact that it could be made at all, and with such style - is ultimately invigorating. There’s reason to believe that Buenos Aires’s international airport no longer need look so eerily empty.

The Cast

FUNNY DIRTY LITTLE WAR, directed by Hector Olivera; script (Spanish with English subtitles) by Roberto Cossa and Mr. Olivera, based on the novel by Osvaldo Soriano; cinematography, Leonardo Rodriques Solis; edited by Eduardo Lopez; music by Oscar Cardozo Ocampo; produced by Fernando Ayala and Luis Osvaldo Repetto. At Roy and Niuta Titus Theater 1, Museum of Modern Art, as part of the New Directors/New Films series. Running time: 80 minutes. This film has no rating. Ignacio FuentesFederico Luppi SuprinoHector Bidonde ReinaldoVictor Laplace Commissar LlanosRodolfo Ranni JuanMiguel Angel Sola GarciaJulio de Grazia GuglielmiLautaro Murua Felisa FuentesGraciela Dufau CervinoUlisses Dumont Inspector RossiRaul Rizzo TotoArturo Maly

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DOWNLOAD MOVIE Virus Just $2.99 for a complete movie! No additional software or browser plug-ins required! You can play them for unlimited number of times whenever you want. Downloaded movies will work perfectly on any PC, DVD player, PDA etc.
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Virus
STAR RATING:*****Unmissable****Very Good***Okay**You Could Go Out For A
Meal
Instead*Avoid At All Costs

Yay,what better way to enjoy a Wednesday night in front of the telly than
with a good-old DTV Rutger Hauer movie.Right?Er,sadly no.To start with,the
purpose is kind of defeated when Hauer’s screentime is really limited.But
this is really the least of your problems.Cliched characters,comically low
budget bee effects and laughable dialogue throughout are.Oh,and it’s also
overlong.Just letting you know.*

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The Bourne Identity (2002)

FILM REVIEW; He Knows a Lot, Just Not His Name

The fat, plot-stuffed novels of Robert Ludlum are perennially popular among airline passengers. It is not surprising, then, that Doug Liman’s adaptation of ”The Bourne Identity,” Ludlum’s 1980 best seller, seems like an ideal selection for in-flight viewing. The story moves swiftly enough to make the time pass pleasantly, and it is not so complicated that you are likely to miss anything if you take a brief nap, wander off to the lavatory or devote your concentration to the difficult task of removing the plastic wrap from your meal.

Conversely, to see ”The Bourne Identity” on terra firma offers some of the pleasures of travel without the expense and inconvenience of flying. The movie, in time-honored (if by now also anachronistic) spy thriller fashion, hops from one picturesque European spot to another, each location conveyed in postcard-perfect aerial perspective. We move from Marseille to snowy Zurich, spend a lot of time in Paris, take a drive across the Alps and a sojourn at a farmhouse in the French countryside before ending up on the Aegean island of Santorini, with its windmills and black sand beaches. (Much of the movie was shot in Prague, which has become, for moviemakers, the Vancouver of Europe.)

Of course, for the people in the movie, all this travel is quite stressful. The hub of the action is C.I.A. headquarters in Langley, Va., where Conklin, a thin-lipped bureaucrat (Chris Cooper) and his nervous, P.R.-minded boss (Brian Cox) are attempting some deadly damage control. It seems that Conklin — who works behind a smoked-glass door in a half-illuminated office suite, and who probably has ”Rogue Operations” printed on his business card — administers a supersecret team of assassins, one of whom, Jason Bourne, has gone ”off the reservation” after bungling an assignment. He was supposed to kill a vain, volatile African politician (Adewale Akinnuoye-Agbaje) who was threatening to embarrass the agency with his revelations (and who certainly embarrasses the picture with his embodiment of a hackneyed stereotype).

Bourne, in any case, has gone off the reservation and into the stormy Mediterranean, with two bullets in his back, a Swiss bank account number implanted in his hip, and a bad case of amnesia. Rescued by some friendly Italian fisherman, this confused killing machine (Matt Damon) makes his way to Zurich, where he finds a safe-deposit box containing a gun, a dozen passports and a lot of cash — minimal, sinister clues to his misplaced identity. He also discovers that while he does not remember his name, his job or his address, he has at some point acquired a repertory of unusual and, as it turns out, very useful skills. He can not only speak French and German but is also expert in hand-to-hand combat (at one point killing an assailant with a ballpoint pen) and high-speed evasive driving through the clogged Parisian streets in a battered Austin Mini. With stick shift, no less.

The flicker of surprise that crosses Mr. Damon’s brow as Bourne discovers these mysterious abilities is one of the pictures sly, witty touches. More of these are supplied by Franka Potente, who smoothly adapts the frantic smarts of ”Run Lola Run” into a Euro-bohemian version of a role Sandra Bullock might have played a few years back. Ms. Potente is Marie, a footloose German waif who becomes Bourne’s unwitting sidekick and inevitable love interest. What starts off as a simple enough arrangement — a ride from Zurich to Paris in exchange for $20,000 American cash — quickly becomes perilously complicated as Bourne’s old employers close in, hoping to negotiate a suitable severance package.

There are some espionage writers who use the form as a way of probing troubling geopolitical realities and vexing ethical dilemmas. Ludlum, who died last year, was not one of them. But at a moment when big, dumb thrillers like ”The Sum of All Fears” find themselves suddenly burdened with expectations of relevance, the utter and systematic irrelevance of ”The Bourne Identity” to anything currently or formerly happening in the world comes as something of a relief. Comic relief, even.

The movie, which opens nationwide today, trots out a quaint view of the C.I.A. as not only bottomlessly malevolent, but also endlessly and terrifyingly competent. Shortly after they see Marie’s image on a security camera satellite feed, the folks at Langley are in possession of her entire life history, and they are able to track her movements across Europe with a few clicks of the mouse. This is inadvertently hilarious in light of recent news reports. If Marie had only thought to disguise herself as an international terrorist, she might never have attracted the agency’s notice in the first place. (We can also assume that Pashto and Arabic are not among the languages Bourne speaks.)

Free from the encumbrances of history and of Ludlum’s cloddish prose, ”The Bourne Identity,” like its hero, triumphs through sheer unreflective professionalism. It is, by today’s standards, a modest thriller, with a self-contained storyline and with very few big special effects. The cast includes some very fine actors — Mr. Cox, Julia Stiles and Clive Owen, for example — stuck in frustratingly small parts, but their presence does add to the atmosphere of slick, top-drawer know-how.

Mr. Liman’s filmmaking has an old-fashioned rigor. He uses a few digital enhancements but generally prefers to create suspense through precise camera placements and crisp editing. There is nothing especially original here, but the car chases and cat-and-mouse assassin duels are nicely executed.

Mr. Damon at first seems too moody and cerebral to be an action hero, but he grasps Bourne’s predicament perfectly, and takes it seriously enough to make the film’s improbable conceit seem more interesting than it might otherwise have been. Similarly, the picture, when it dwells on the hero’s existential confusion, seems more interesting than it turns out, on reflection, to be.

”The Bourne Identity” is rated PG-13 (Parents strongly cautioned) for violence, mild profanity, and a suggestion or two of sexuality.

THE BOURNE IDENTITY

Directed by Doug Liman; written by Tony Gilroy and William Blake Herron, based on the novel by Robert Ludlum; director of photography, Oliver Wood; edited by Saar Klein; music by John Powell; production designer, Dan Weil; produced by Mr. Liman, Patrick Crowley and Richard N. Gladstein; released by Universal Pictures. Running time: 113 minutes. This film is rated PG-13.

WITH: Matt Damon (Jason Bourne), Franka Potente (Marie Kreutz), Chris Cooper (Ted Conklin), Clive Owen (The Professor), Brian Cox (Ward Abbott) and Adewale Akinnuoye-Agbaje (Nykwana Wombosi).

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Reviewed by Glenn Erickson

Here’s another Legend Films colorization job sneaking in under the Fox Home Video banner.
William Castle’s haunted house classic is also presented in a B&W version, although hidden away
in a special features menu. The 9.98 price tag gets the purchaser quite a bit for his cash
outlay; people actually interested in the movie would do better to stick to
Warners’ earlier DVD, which is presented in a superior enhanced 16:9 format.

Synopsis:

Millionaire Frederick Loren and his wife Annabelle (Vincent Price and Carol Ohmart)
have only contempt for one another; she has already tried to poison him once. He bows to her wishes
and holds her birthday party in a
rented and supposedly haunted house. Facetiously claiming to have no friends, Loren invites five
strangers, all of whom are primarily interested in the upscale prize promised those who ’survive’
the night: $10,000. The house’s owner Watson Pritchard (Elisha Cook) knows
the history of the murders in the mansion, while office worker Nora Manning (Carolyn Craig), test
pilot Lance Schroeder (Richard Long), psychiatrist Dr. David Trent (Alan Marshal) and gossip
columnist Ruth Bridgers (Julie Mitchum) claim to be there for the cash, the thrill, or scientific
curiosity. Loren’s shindig is a bumpy ride from the start. Steel shutters close the house off at
midnight, Loren gives
out .45 automatic guns (in little coffins) as party favors, and the seven nervous partygoers
begin a night of suicide, blood dripping from ceilings, disappearing severed heads, and phantom
figures. When Watson shows them the previous owner’s murderous acid pit in the basement, nobody
seems to guess the #1 rule of gruesome torture devices: An acid pit seen is an acid pit that will
be used!

With House on Haunted Hill William Castle embarked on a fun, unpretentious updating of
The Cat and the Canary- style
thrillers, only he didn’t bother with making the mystery all that important. Vincent Price’s suave
millionaire already knows his wife is out to get him, and the evening’s ‘fun’ is an unbroken ride
on a Spook House train that proceeds from one thrill to another without too much emphasis on
credibility
or logic. Loren’s guests are uncommonly credulous when confronted with haunted-house gimmicks that
they must have remembered from Halloweens long past, but they take them seriously enough when one
of their number is found hanged, and another receives a sharp knock on the noggin. The place isn’t
just haunted - somebody or some thing may be out to kill them.

Savant hasn’t seen the recent remake, but besides betting that it’s cast younger and more attractively,
I’ll bet it expects to be taken more seriously and critcizes its characters more. Robb White
was the writer/co-creator of Castle’s better films, and he softens most of the
characters. The sharp-tongued gossip columnist is really quite sweet and the ‘teen surrogate’
couple are adventures and innocently vulnerable. The rest have a sense of humor about
the situation except for poor Elisha Cook Jr., who is soon drunk and predicting dire doom for
all. Since it’s Elisha Cook, everyone’s favorite loser from the 1940s, his moaning and moping
are endearing.

Finally, Vincent Price and Carol Ohmart (Spider Baby) make a well-matched couple of smoothies.
He obviously still feels something for her while she doesn’t try to hide her wish that he were
six feet under. Price is charming and brooding as well, an interesting mix that keeps the silly
plot balanced from one unlikely event to the next. He doesn’t send the character up, something
that he wouldn’t doing for years yet. In Castle’s shockers and his non-comedy roles for Roger
Corman, Vincent Price for the most part played things straight. He may chortle and snicker a bit,
but he doesn’t wink at the audience.

Castle’s approach to haunted house thrills is straightforward and consistent. Only a few scattered
moments reach for ethereal effects, provided mostly by Von Dexter’s score and a quick exterior shoot
of the Ennis Wright house atop a very un-haunted old-money residential hill in Los Feliz.  ¹
Robb White’s idea of staging an unexpected suicide early on undermines our ability to guess what
will happen, to the extent that even some of the cornier scares are enjoyably tense.

Castle’s gimmick on this one was called ‘Emergo’, and it consisted simply of a skeleton prop that
flew over the heads of the audience on wires at a key moment of the film. It’s existence was
passed around by readers of Famous Monsters of Filmland; I’ve never met anyone who ever saw
it in use.

The movie has one EXCELLENT jolt that’s simplicity itself, involving our misdirected attention and
some really good timing. Modern horror films have either forgotten how to create Boo! moments, or
modern producers figure that surprises of that kind will be ruined by spoilers or dissipated by
the home video viewing experience, with people talking through scenes and taking
cell phone calls. If it isn’t still possible to shake an audience up without showing someone
cut in half or spewing innards across the screen, horror films should give up.

House on Haunted Hill is good, silly fun that will only give chills to the very young,
a good scare show for those not yet ready for post-60s blood and guts.

---

‘Key Video’s DVD of House on Haunted Hill is formatted both on the package and in the screen
menus as a Fox release, which it really seems to be. The main colorized feature has an awful lot of
mostly colorless material, although some interior shots are interesting to watch. People tend to have
orange heads. The image is softer and less defined than the B&W version found in the special features
menu, along with a trailer and an animated look at some of the original pressbook details.

The B&W version is fine except that it’s not 16:9 enhanced. This not only leaves a lot of head and
foot room on the feature, it opens up compositions so that the ’scary’ content hasn’t the impact
that it should.

Both versions can be watched with a comedy track by Mike Nelson of the old MST3K cable show.
His running commentary boils down mostly to snide comments about the characters, all negative and
basically there for cheap sex jokes, especially whenever Richard Long gets near Carolyn Craig.

Legend’s packaging this time around is very handsomely laid out, all except for their continuing
habit of combining their colorization production credits with the original credits for the film,
to make it look like they made the movie. Very, very bad form.

---

On a scale of Excellent, Good, Fair, and Poor,
House on Haunted Hill rates:

Movie: Very Good

Video: B&W: Good -, Colorized Fair ++

Sound: Good

Supplements: Pressbook, Trailer, Mike Nelson comedy commentary track

Packaging: Keep case

Reviewed: September 9, 2005

---

Footnote:

1. Should you ever visit
LA, the Ennis-Wright house is easy to see on a clear day from Vermont Avenue approaching Los Feliz
Blvd. It’s this
giant sandstone structure with a great view but only a few windows. Like several other LA Frank Lloyd
Wright constructions, it’s made of custom-cast bricks and has been allowed to deteriorate over
the years. Don’t even try to drive up to it, as the residents give looky-loos a hard time in the
crowded, twisty hillside streets.
^Return

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