Shadowlands

Passion play nearly doomed artist Jean-Michel Basquiat, the ’80s art world and, conspicuously, painter-cum-filmmaker Julian Schnabel. With Jeffrey Wright, Michael Wincott, Benicio Del Toro, David Bowie, Claire Forlani, Gary Oldman, Elina Lowensohn. Written and directed by Julian Schnabel.

Brute in a Texas town as a prison escapee (Redford), returning home to seek shelter and justice, stirs up a cesspit of hatred, corruption, guilt, lust and racial prejudice. Lillian Hellman’s libretto, based on a novel/play by Horton Foote but emerging as a resolve of updated and expanded Scanty Foxes, sometimes fringes absurdity in troublesome to indict in effect everybody in town as a clandestinely miscreant, and in its stagy contrivance (the emigre just happens by on the night of a convention when temperatures are perpetual drunkenly high). But it does manage to build a credible blueprint out of the tangled loyalties and enmities, which Penn’s regulation takes by the scruff and shakes into a firework display of controlled violence. Terrific performances too, although Brando (undergoing his statutory beating up as the sheriff caught in the middle) rather overdoes the broody bit.

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Portman

Emma
: (Rachel Portman) The cock’s-crow 1990's saw a
rebirth of adaptations of popular British authors of centuries ago, and
nobody was peradventure as influential on screen as Jane Austen. Following
Persuasion
,
Nous and Sensibility
, and the ginormous A&E
production of
Pride and Prejudice
, the star of
Emma
should come as no surprise. Even Alicia Silverstone's
Clueless
the premature year was a modern adjustment of Austen's "Emma" story,
though it doesn't take a genius to know the intended audience of the
true adaptations. Austen stories all play a joke on the same general stance: different
marriages have to be arranged by the annihilation, the unrivalled lady is stubborn
and dislikes popular conventions, there's ballroom dancing to be done,
and the duct couple of interest takes the entire story to ultimately admit
their love to one another. For non-Austen fans, these scenarios are decent
one foreign inroad curt of a successful gag, and unfortunately for
those non-ideal folks, the scores concerning these films aren't much better.
Even within the genre, it seems that he music for the sake of these pictures can
head in one of two directions: they can use novel orchestral
sensibilities without references to stretch music, or they can rely
heavily on established quotations or imitations to strain to best capture the
music that would have been heard at the epoch. Whether it is Carl Davis
or Dario Marianelli, it seems that
Pride and Prejudice
has tended
to sway towards the latter. But Patrick Doyle and Rachel Portman
approached the task differently, and Portman in particular was forced
into a more comedic letters role because
Emma
remains one of
Austen's more flighty and whimsical escapes. The project would be an
easy position for Portman, whose writing is often most compelling when
accompanying pure fluff on the screen. Her string and woodwind-dominated
ensembles many times define the light romance genre.

			Learn more about supporting Filmtracks

With the word in the service of

Emma

, we get absolutely
nothing unexpected. You either have to be a Portman lover or an Austen fan
to get high on this delicately prancing interval romance music. The score is
built over Portman's trademark bed of lightly chopping strings, with the
heavier moments utilizing cellos and the comedy cues switching to
violins. The melody lines are carried as typical by clarinet and oboe,
cross-bred adequately at the forefront. Such usage is not atypical for
Portman, but what usually floats her scores are the lush performances of
lyrical passages by the unrestricted ensemble, and while

Emma

hints at
the kind of majesty heard in

At most You

and

The Cider House
Rules

, that crescendo of attraction is never really obtained. In
"Proposal," the ensemble almost achieves this magnificence, but Portman
restrains herself (maybe unnecessarily) and without fail, the signal
returns to the softer churnings of the strings under alone woodwind.
Portman alternates between two primary themes; the first contains the
appellation sequences and represents the main character, and the imperfect often
punctuates the comedy of the story. The essential theme becomes burdensome
by the end of the score, repeated endlessly in Portman's accordant
woodwind performances. The comedy composition is, as to be expected, the more
vibrant and demanding of the ensemble, allowing the rhythms to perk up
and rebound in "Celery Root" and in the fundamental half of "Close Titles." As
heard in

Addicted to Affection

after

Emma

, Portman's humorous
writing carries the occupation of the listener clearly better than her
all-too-similar dearest themes (you could measured extend that account to

The French autoroute to Wellville

if you like). The 4-minute end title cue in

Emma

contains all the material you intent desperate straits from the score (a
energetic dance cue in the midriff is not her original material), though her
effort was still sturdy enough to by her an Academy Bestowal in the
resurrected "Overpower Comedy Score" category in 1997. Even Portman
collectors require agree, how, that

Emma

is far from her superb
work, and by no means fitting an Oscar on the other side of her other, stronger romance
scores.
***

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? 1. Main Titles (4:26)

? 2. Harriet's Portrait (1:10)

? 3. Sewing and Archery (3:07)

? 4. Frank Churchill Arrives (2:29)

? 5. Celery Root (2:55)
? 6. Mr. Elton's Rejection (1:58)
? 7. Emma Tells Harriet About Mr. Elton (1:05)

? 8. The Coles Exponent (3:10)

? 9. Mrs. Elton's Go (1:32)

? 10. Emma Dreams of Frank Churchill (0:49)
? 11. The Dance (1:17)
? 12. Gypsies (0:46)
? 13. The Picnic (2:29)
? 14. Emma Insults Skip Bates (1:59)
? 15. Emma Writes Her Engagement book (2:53)
? 16. Mr. Knightley Returns (1:57)
? 17. Proposal (4:22)
? 18. Culminate Titles (4:21)

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In the mid-1980s, amid billions in record profits and
prosperity, the General Motors Corporation — the richest corporation in the
world — decided to shut down eleven of their factories and ship much of
their manufacturing operations to "urn:schemas-microsoft-com:office:smarttags"
/>Mexico. By
paying Mexican workers seventy cents an hour, GM was able to reduce operating
costs and generate enough revenue to acquire other companies, such as Hughes
Aircraft. In the midst of this giant corporate square-dance, the town of
Flint,
Michigan – the birthplace of
General Motors – was utterly devastated. CEO Roger Smith shipped the local
factory jobs to
Mexico, laying
off over 30,000 Flint workers.
Almost overnight, the crime rate skyrocketed. Over half of
Flint’s population began receiving
some kind of government assistance. Money magazine rated
Flint as the worst place to live in
the entire United States of
America. Attempts to rejuvenate the city’s
downtown district and attract tourism failed. In one rather sadly comical
interlude, a live edition of ABC Nightline was to have interviewed city
officials to discuss Flint’s growing
economic depression. Right before the broadcast, the Nightline van was
stolen from in front of city hall, and the interview was cancelled. Ironically
enough, the thief was an ex-GM factory worker.

Documentary filmmaker and author (or, according to many
neo-conservatives, The Most Un-American Person To Walk The Planet Now That
The Rosenbergs Are Dead) Michael Moore is a Flint native, whose family worked
for GM for decades. With GM’s closings of the
Flint plants,
Moore decided to document what
effect the massive destruction of a solidly American workforce would have on his
hometown. Beginning in March of 1987 and spanning the course of over two years,
Moore shot Roger &
Me, a phenomenally powerful documentary in which
Moore’s darkly comical style paints
a vivid portrait of the effect of corporate downsizing and overseas job
displacement on small-town
America.
Throughout the documentary, Moore
balances scenes of depression and desperation in
Flint with his own futile attempts
to interview Roger Smith. The film is a compelling, often humorous while
ultimately tragic look at what happens when profits come before
people.

The DVD

Video:
Roger & Me was shot with 16mm film
and handheld cameras, so no amount of Hollywood wizardry is going to make the
film look as dazzling as, say, Attack of the Clones. The film, which is
presented in its original full-frame aspect ratio, does look as clean and solid
as I’ve ever seen it. Off the bat, there is a noticeable amount of film grain
evident throughout the transfer, which is to be expected. Color levels are
reasonably if slightly muted. Compression noise and pixelation artifacts were
not to be found, and while I did not notice any edge-enhancement I did spot some
shimmering around various light sources. Contrasts were reasonable. Black levels
are middling while shadow detail is slightly off. Overall, this is fine
representation of what is admittedly limited source material.

Audio:
The audio is presented in Dolby
Digital 1.0. The monaural soundtrack is fair, with a reasonable representation
of the film’s original soundtrack. Dialog is well presented and finely
delivered, with little distortion or harshness. Again, with limited source
material one cannot expect a pristine treatment, but the movie generally sounds
fine. 

Extras:
Michael Moore provides a
feature-length Audio Commentary, recorded “in hiding” within his “bunker
complex” a few months after his infamous 2003 Oscar speech.
Moore is fairly candid, humorous,
and insightful throughout this track. He talks at great length of the
history of the film, how he had absolutely no filmmaking experience whatsoever
as he started filming Roger & Me. He also provides very
specific comments about the on-screen action, especially the various
Flint residents interviewed in the
film and the celebrities and landmarks highlighted throughout the film. Here’s
an interesting tidbit gleaned from the commentary track: Bob Eubanks, who
uttered the infamous Jewish AIDS joke on film, appeared on television with the
Anti-Defamation League, decrying
Moore’s film as “anti-Semitic.” Yup,
there is a giant question mark painted over my head, too…

The film’s theatrical Trailer is also
included.

Final Thoughts

Roger
& Me electrified audiences when it was released back in 1989.
Before Michael Moore became “MICHAEL MOORE!!!”, he was a left-leaning journalist
who had the stones to doggedly go after and attempt to interview the CEO of the
corporation which devastated his hometown. Since then, Moore has gone on to a
variety of different projects, from the insanely entertaining television shows
TV Nation and The Awful Truth to further documentaries such as
The Big One and the Oscar-winning Bowling For
Columbine style="FONT-STYLE: normal; mso-bidi-font-style: italic">, as well as penning the
best-selling books Downsize This! style="FONT-STYLE: normal; mso-bidi-font-style: italic">and Stupid White
Men style="FONT-STYLE: normal; mso-bidi-font-style: italic">.
Roger & Me is the most personal of
Moore’s work, and arguably his
leanest and most acerbic. Warner has released a fine DVD of Roger &
Me, with a solid presentation of the material and a great commentary
track by Michael Moore. My only criticism: why not include the 1992 follow-up
special Pets or Meat: The Return to Flint

? (Probable answer: an
issue of rights or ownership. Oh well…) Nonetheless, Roger &
Me is a great documentary and the DVD comes well recommended.

Three experiences reckon an indelible effect in a young girl’s teens: her father’s skiff calligraphy on her finish and neck, the subject-matter of a noblewoman’s erotic diary (or pillow book), and the discovery that her pa is being blackmailed. These three images behove a single fixed idea when the girl becomes a woman (Vivian Wu of The Joy Fortune Club) and meets a man (Trainspotting’s Ewan McGregor) who offers his committee to her, both as a nonplussed page to write upon and as a weapon of their comeuppance. Beautiful to behold and impossible to forget.

---

In what has to be one of the quickest turnaround times in movie history, the creators behind the live-action Van Helsing (2004) have found a way to tide fans over until the film’s eventual release. The London Assignment is basically an animated prequel to the live-action film, and nothing more. Clocking in at a scant 33 minutes (including the credits), it’s hard to categorize this story in a typical fashion. Naturally, it’s too short to be considered a stand-alone film. On the other hand, it’s a tad long to be considered a TV special (or pilot episode), but the non-stop action of this story is already lean enough not to warrant any more trimming.

Featuring the voice of Hugh Jackman (the star of the live-action film), The London Assignment tells the brief tale of Helsing’s first adventures in London as he faces the deadly Dr. Jekyll and Mr. Hyde. Although the format of the animated film is much different than the live-action counterpart, it does a decent job of re-creating the dark and brooding atmostphere of its big-screen brother. Additionally, the wise decision of having Jackman voice the character is a welcome move, as it lends itself to an ever stronger likeness. Although a few supporting characters are new to this story, we also get to see a few familiar faces (the aforementioned Jekyll/Hyde and Van Helsing’s “sidekick” Carl, for example).

As mentioned before, this short film runs for just 33 minutes, but features more action than most feature-length films! Of course, this leaves the character development a bit lacking, but the film does a decent job of rolling along at top speed. I can’t say I was bored at any point during the show, and that’s where the film could be considered most successful. Plain and simple, if you liked the live-action Van Helsing, this animated film will be right up your alley. On a basic level, it’s a short and simple story that does its job well, and tries pretty darn hard to keep things moving.

Or course, what review would be complete without mentioning a few glaring drawbacks?

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For starters, the most attention-getting aspect of this film is the artwork itself, but that’s not always a good thing. Besides for the obvious notion that this production seemed like a rush job, there are several styles of animation here…and they don’t blend together as well as you’d expect. Part CGI, part hand-drawn animaion, this is a film that definitely could have used an additional round of polish. The characters are somewhat crudely drawn, and basic animation is a mixed bag: while some scenes are fluid and kinetic, others stick out like a sore thumb. All in all, it’s not up to par with most modern animation releases, either American or Japanese (of which this film shares equal influence). It’s not terrible animation by any stretch, but it won’t blow you away from start to finish.

Of course, there may be other nitpicks, but they’re standards for films of the popcorn variety. This is a production that relies much more of style than substance, and almost requires viewers to check their brains at the door. At the same time, it also builds well on the strengths of the genre (atmosphere and action), and thankfully doesn’t take itself too seriously. It’s a short but entertaining ride that keeps the spirit of the live-action film going, and will be of much interest to fans of the supernatural branch of animation. While it’s not a perfectly-crafted production, it’s entertaining enough to see at least once. The DVD comes to us courtesy of Universal, and makes for an interesting appetizer for the live-action release due later this year. But is this disc worth the money? Rean on for the complete scoop:

Trait Command Put one’s faith

---

Video Production:

Although this 1.85:1 widescreen presentation is excellent, Universal has chosen to release this film without anamorphic enhancement (although the menus are anamorphic…figure that one out!). This is totally unacceptable for any release in this day and age, and I hope this won’t start a trend for Universal. ln any case, the video presentation should be judged for what it is, and it still looks great in spite of this flaw: colors are deep and rich, and black levels are near-perfect. Overall image detail and clarity is excellent, and only the smallest hints of pixellation could be spotted (not surprising, considering the foggy London atmosphere). Normally, this disc would score approximately 4.5 / 5 in the video department, but a point is lost for the surprising lack of anamorphic enhancement.

Audio Spectacle:

Presented in English Dolby Digital 5.1, Van Helsing: The London Assignment sounds nearly as enveloping as the live-action film itself! This brief 30-minute adventure is action-packed from start to finish, so it’s good to know that the soundtrack delivers in spades. While surround effects and LFE could have been a little more punchy overall, it’s really hard to complain about this great audio mix. Dialogue, music, and sound effects come through loud and clear, making for a well-rounded presentation indeed. For the deaf and hard of hearing, optional English, French, and Spanish subtitles are also included.

Menu Connivance, Bestowal & Packaging:

These menus are dark and brooding, and capture the feel of this production perfectly. Although the menus themselves are essentially static, a quick animated intro is featured, as well as appropriate background music. The “movie” itself is surprisingly not given any chapter stops, which is still a disappointment despite its brief running time. Packaging for this DVD release was somewhat generic, and dresses up the sparse amount of content quite nicely (which is good from a marketing point of view, but bad for impulsive buyers). An insert advertisement also plugs Universal’s Monster Legacy Collections and the already-released Van Helsing video game.

Largesse Features:

While this DVD features a nice little assortment of extras, only a fraction of them pertain to the animated movie itself. First up is the main attraction, the Van Helsing: Behind the Screams documentary (28 minutes), which focuses on the live-acion film and its production. Hosted by Josie Moran (who played the character of Marishka in the live action film), this documentary provides a nice look behind the scenes, and will be of much interest to fans in general. Next up is a look at the Van Helsing Video Game (7 minutes), which serves is purpose on a basic level, but only scratches the surface from a production standpoint. Also here is a brief Interview with Hugh Jackman (5 minutes), who touches briefly on his voice acting work for the animated film, but focuses mostly on the Van Helsing character in general. Next up is a sequence of Animatics (7 minutes), or storyboard-style comparisons between rough sketches and the final product (seen above). Last but not least, the film is prefaced by a Trailer for the upcoming Chronicles of Riddick film and its animated prequel. All in all, this was a short but sweet mix of bonus features intended to generate interest in a wealth of different products, conveniently coming soon to a theater (or store) near you.

Final Thoughts

---

Even though the animated film itself wasn’t a bad effort, the overall DVD package left me a little cold. Sure, the technical presentation was quite good (despite the previously-mentioned lack of anamorphic enhancement) and the broadly-themed extras were decent, but this seemed much more like a marketing tool than a stand-alone release. All things considered, The London Assignment really seems like part of a second disc for the live-action Van Helsing DVD, and can’t really stay above water on its own. If you loved the movie in theaters, chances are you’ll want to check this disc out, as it stays fairly close to the spirit and atmosphere of the movie. The price is reasonable, but there still isn’t enough content on this disc to justify an purchase for anyone other than die-hard fans. Rent It.

---

Aroused Miller III is an expertise instructor and gallery assistant based in Harrisburg, PA, who also enjoys freelance descriptive think of and illustration. When he’s not doing that, he enjoys slacking cancelled, general debauchery, and critique things in third actually.

Agree? Diverge? You can post your thoughts about this over again on the DVD Talk forums.

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“Visions of Light: The Manoeuvres of Cinematography” is an aesthetic regale. It’s rare that cinematographers get the glory as far as something their art. Thanks to “Visions,” featuring interviews with Sven Nykvist, Vittorio Storaro, Haskell Wexler, Ernest Dickerson and many others, that laxity is wonderfully redressed.

Not only will you see excerpts from 125 of the best-looking films of all time, you’ll hear amusing, enlightening commentary from many of the artists responsible. As a visual bonus, directors Arnold Glassman, Todd McCarthy and Stuart Samuels filmed the interviews in high-definition TV and asked the cinematographers to design their own sets.

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“Visions” flits pleasurably from classic to modern, and from one genre to another. You leave this with an appreciation for Billy Bitzer’s extraordinary work in the 1915 epic, “Birth of a Nation,” and Jordan Cronenweth’s modishly ornate “Blade Runner” in 1982. The anecdotes keep coming and you can’t get enough, from Gordon Willis’s reasons for keeping “Godfather” Marlon Brando in the dark, to Storaro’s color scheme in “The Last Emperor.” In the best tale of all, William Fraker recalls director Roman Polanski (during “Rosemary’s Baby”) telling him to make Ruth Gordon only partly visible through a bedroom door. The shot caused entire audiences thereafter, Fraker relates, to collectively crane their necks to see around the corner.

Chief honcho François Truffaut’s first highlight film, THE 400 BLOWS, is a landmark in French cinema. Antoine Doinel (Jean-Pierre Léaud) is a 13-year-old boy who can’t seem to do anything right. His parents yell at him and then inducement him for his love and his promises to ply harder in school. Meanwhile, his dominie is out to devise him and blames Antoine for the total–turning him into the class caper. As a result, Antoine runs away from school and his difficult set, living on the streets of Paris and committing petty crimes. While his life on the lane is well-built, it’s much better than dealing with his preoccupied parents and his accusatory trainer. Nonetheless, things only go downhill as a service to Antoine, descending to a simultaneously painful and attractive conclusion.

A truly impressive film, THE 400 BLOWS is unclothed, square, and intensely emotional. Imbued with a well-substantiated and complex nature, Antoine maintains his poise and self-confidence, in spite of that as he endures disparaging treatment from every adult he encounters. René Simonet (Patrick Auffray) is Antoine’s one become friendly, and the unspoken dialogues between the boys, depicted by Truffaut be means of the boys’ facial expressions and with dominating roving photography, allow the viewer to see through Antoine’s eyes and understand his unflinching stamina. Scattering films give birth to captured the difficulties of childhood as well as this acclaimed French magnum opus. Essentially the start of the French Green Wave workings, THE 400 BLOWS is also the beginning of Truffaut’s Antoine Doinel cycle, which follows Léaud as Antoine in four additional films over the course of 20 years.