This German film puts a European twist on all those "Scream"-type horror films we had been sitting through, and succeeds. This review is full of spoilers.
Franka Potente from "Run Lola Run" and "The Bourne Identity" is Paula, a very smart medical school student who is accepted to an exclusive school in Heidelberg. She meets party girl Gretchen (Anna Loos), and the two become roommates. On the train trip there, Paula revives a young man named David (Arndt Schwering-Sohnrey), who has a heart condition. He is on his way to Heidelberg to seek treatment for his rare illness. Right away, Gretchen hooks up with studly Hein (Benno Furmann) while Paula flirts with the weird Caspar (Sebastian Blomberg). The film has already shown us that the medical school is using live subjects for its autopsies, and are putting the victims in a specimen museum when they are done.
The gore flows freely here, and there is a lot of terrific suspense. One great scene involves a character trying to get rid of a body while people try to get into a blocked morgue room. The film has a great expensive look, and the editing (by Ueli Christen) and musical score (featuring some Euro-pop songs, instrumentals by Marius Ruhland) are first rate. The sterile hospital set is cold and creepy. I could only watch the dubbed version, from German to English, but even that is awesome. Franka Potente is great, holding the film in her grasp. She is believable and watchable. Anna Loos is a riot as Gretchen, watch her scene in the restaurant as she sucks down oysters while talking medical school "shop." Benno Furmann is introduced as just a hunk, but he is able to turn the tables on the audience, giving us a character that we never suspected from his opening scenes. Of course, the rest of the world seems to have been influenced by the junk coming out of Hollywood, and this film is no different. We do have a predictable finale, and a villain who comes back to life when thought dead. Paula believes the sect is definitely killing people, but assumes a good friend- who we see murdered- really left for a long weekend when she should know better. The local police, of course, do not believe her. These are small flaws, but they detract.
"Anatomy" is gory, and the squeamish should turn to something else. This is brazenly over-the-top, but does not resort to the same smugness that permeates so many American horror films. Paula is a great heroine, not needing anyone to save her from dangerous situations. Open up this "Anatomy" and dig in. Followed by a sequel. (* * * *) out of five stars.
*Get a physical copy of "Anatomy" on Amazon here*
Tuesday, May 14, 2024
Monday, May 13, 2024
Racism- What's Up With That?: "Amos & Andrew" (1993)
E. Max Frye writes and directs a wannabe social comedy that does not score on enough levels.
Andrew Sterling (Samuel L. Jackson) is a Black celebrity who happens to move to a small Massachusetts island populated mostly by whites. He is going to his new house there ahead of his wife, and tries to settle in. Local lawyer Phil Gillman (Michael Lerner) and wife Judy (Margaret Colin) see Sterling and assume he is robbing the house, not knowing there's a new owner. The local incompetent police, headed by Chief Tolliver (Dabney Coleman) close in. Overly anxious officer Donaldson (Brad Dourif) shoots at the innocent Sterling, resulting in a standoff covered by a local freelance reporter, who interviews the Gillmans. Tolliver soon realizes his mistake, but it is too late to change things back to how they were, especially when he is running for county commissioner in the fall. Tolliver devises a convoluted plan: get petty criminal Amos (Nicolas Cage) to break into Sterling's home, take him hostage, then release him. Tolliver then promises to set Amos free. After Amos agrees and goes in, the real press arrives complete with satellite trucks and live on-location reporters and the poo really hits the fan.
There is a whoooole lotta plot for a ninety five minute film, and this is one of director/writer Frye's problems. While watching "Amos & Andrew," I was reminded of a film from the 1970's that also dealt with a large cast in a social satire. However, Robert Altman juggled his characters in "Nashville" well, allowing the story to unfold without resorting to physical antics straight out of a Jerry Lewis movie. "Amos & Andrew" feels like a "mod social satire" from the 1960's, written for the Disney company and possibly starring Dean Jones. There is no bite, and Frye cannot seem to keep steady aim on any one target. In Altman's film, the characters were flawed but interesting. Here, they are flawed and boring. The few funny scenes seem to have worked as an afterthought. Bob Balaban has too few scenes as Roy, the freelance hostage negotiator. His one sided confessional phone calls, especially to a bound and gagged Tolliver, are a scream. Also, Lerner and Colin are good as the Gillmans. Colin is also very funny in one scene where she has been blindfolded by the couple's S&M gear, and keeps asking what is going on. A fistfight between Amos and Andrew is downright embarrassing to watch. Jackson plays his most understated role here, and almost gets lost in the character shuffle. He has one good scene, talking about his dad, but Sterling's persona is so ill-defined (a writer, lecturer, playwright, Pulitzer Prize winner, on the cover of Forbes magazine...who is this guy?) that Jackson cannot seem to get a grasp on him. Cage as a petty criminal- where have we seen this before? Amos is supposed to be charming in a stupid sort of way, but Cage just phones in his performance. Coleman plays his umpteenth incarnation of "9 to 5"'s Franklin Hart, and Dourif's Donaldson is so stupid you will not believe entire plot points hinge on his idiotic behavior. Watch for completely misplayed scenes when Amos thinks the police are outside the Gillman home when in fact they are still outside the Sterling house. Even Cage cannot pull off such a lapse in character logic. By the time Sir Mix-A-Lot's horrid hip-hop diddy "Suburbian Nightmare," which recounts the entire movie you just saw from Andrew's point of view, assaults your ears over the end credits, the film is a lost cause.
"Amos & Andrew" does not live up to its potential. This should have been a wicked satire full of barbs at everyone from Jesse Jackson to Liberal racists to smalltown politics. It hits its paper target, but with an atomic bomb, instead of intelligent and thought-out shots. You can not be sure what the original intent was in the first place when all of its energy was used in trying to get a dig in on everybody. (* *) out of five stars.
*Get a physical copy of "Amos & Andrew" on Amazon here*
Andrew Sterling (Samuel L. Jackson) is a Black celebrity who happens to move to a small Massachusetts island populated mostly by whites. He is going to his new house there ahead of his wife, and tries to settle in. Local lawyer Phil Gillman (Michael Lerner) and wife Judy (Margaret Colin) see Sterling and assume he is robbing the house, not knowing there's a new owner. The local incompetent police, headed by Chief Tolliver (Dabney Coleman) close in. Overly anxious officer Donaldson (Brad Dourif) shoots at the innocent Sterling, resulting in a standoff covered by a local freelance reporter, who interviews the Gillmans. Tolliver soon realizes his mistake, but it is too late to change things back to how they were, especially when he is running for county commissioner in the fall. Tolliver devises a convoluted plan: get petty criminal Amos (Nicolas Cage) to break into Sterling's home, take him hostage, then release him. Tolliver then promises to set Amos free. After Amos agrees and goes in, the real press arrives complete with satellite trucks and live on-location reporters and the poo really hits the fan.
There is a whoooole lotta plot for a ninety five minute film, and this is one of director/writer Frye's problems. While watching "Amos & Andrew," I was reminded of a film from the 1970's that also dealt with a large cast in a social satire. However, Robert Altman juggled his characters in "Nashville" well, allowing the story to unfold without resorting to physical antics straight out of a Jerry Lewis movie. "Amos & Andrew" feels like a "mod social satire" from the 1960's, written for the Disney company and possibly starring Dean Jones. There is no bite, and Frye cannot seem to keep steady aim on any one target. In Altman's film, the characters were flawed but interesting. Here, they are flawed and boring. The few funny scenes seem to have worked as an afterthought. Bob Balaban has too few scenes as Roy, the freelance hostage negotiator. His one sided confessional phone calls, especially to a bound and gagged Tolliver, are a scream. Also, Lerner and Colin are good as the Gillmans. Colin is also very funny in one scene where she has been blindfolded by the couple's S&M gear, and keeps asking what is going on. A fistfight between Amos and Andrew is downright embarrassing to watch. Jackson plays his most understated role here, and almost gets lost in the character shuffle. He has one good scene, talking about his dad, but Sterling's persona is so ill-defined (a writer, lecturer, playwright, Pulitzer Prize winner, on the cover of Forbes magazine...who is this guy?) that Jackson cannot seem to get a grasp on him. Cage as a petty criminal- where have we seen this before? Amos is supposed to be charming in a stupid sort of way, but Cage just phones in his performance. Coleman plays his umpteenth incarnation of "9 to 5"'s Franklin Hart, and Dourif's Donaldson is so stupid you will not believe entire plot points hinge on his idiotic behavior. Watch for completely misplayed scenes when Amos thinks the police are outside the Gillman home when in fact they are still outside the Sterling house. Even Cage cannot pull off such a lapse in character logic. By the time Sir Mix-A-Lot's horrid hip-hop diddy "Suburbian Nightmare," which recounts the entire movie you just saw from Andrew's point of view, assaults your ears over the end credits, the film is a lost cause.
"Amos & Andrew" does not live up to its potential. This should have been a wicked satire full of barbs at everyone from Jesse Jackson to Liberal racists to smalltown politics. It hits its paper target, but with an atomic bomb, instead of intelligent and thought-out shots. You can not be sure what the original intent was in the first place when all of its energy was used in trying to get a dig in on everybody. (* *) out of five stars.
*Get a physical copy of "Amos & Andrew" on Amazon here*
From Russia With Loathing: "Anastasia" (1997)
Fox makes like bad Disney and slaps together a silly, treacly, boring story about the famed "missing" Russian princess.
Mean old Rasputin (voiced by Christopher Lloyd) curses the Romanov family and some convenient Communists follow suit and murder them. Young Anastasia (Kirsten Dunst) escapes with Grandma (Angela Lansbury), but the two are separated, and Anastasia loses her memory. Ten years later in St. Petersburg, Dmitri (John Cusack) and Vladimir (Kelsey Grammer) are looking for someone to portray the princess to Grandma so they can collect a reward. An amnesiac Anastasia (say that three times fast) is released from an orphanage, and meets up with the pair. The three are off to Paris, not realizing the fake Anastasia, now voiced by Meg Ryan, is the real Anastasia. Rasputin, who died in the opening scenes, is somehow resurrected with some help from his "funny" sidekick, Bartok the bat (Hank Azaria), and tries to complete his curse by killing Anastasia, first with a train wreck (like this film) then permeating her dreams and having her sleepwalk off a ship.
I hated this movie. A good musical will use its songs to propel the plot or give us some insight into the characters, here they serve as nothing more but hopeful Oscar nominations. The animated cast sings and goes through dance numbers worthy of a Broadway show, even ending the tunes with flourish as if waiting for applause. For singing film Russians that actually work, watch one of the best musicals ever- "Fiddler on the Roof." Cusack, Lloyd, and Ryan sport American accents, yet Grammer has a Russian accent. Lansbury has her semi-British accent, and no one seems to try and get the cast on one specific accent. Is this Russia or not? Cusack sounds like he forgot his anti-depressants in his other pants, delivering his lines with a solemnity not heard since Ben Kingsley typed up "Schindler's List." Meg Ryan still believes she is in a romantic comedy, saying all her lines in a clipped delivery that is completely wrong for her noble character. There are five different writers credited here, and none of them could come up with a funny joke. One liners are tossed off that even my five year old would have groaned at, and the film lurches from scene to scene without any energy or fun. Don Bluth co-directed with Gary Goldman, and all the characters look like every other character he has ever drawn. Computer animation is mixed in with the hand drawn animation, but the two never mesh together well, leading me to believe it was done to hurry the film along through production.
Throw in the cute puppy, a rotting Rasputin, the annoying Bartok, and a plot that has been copied from better films, and "Anastasia" is a disaster. (*) out of five stars.
*Get a physical copy of "Anastasia" on Amazon here*
Mean old Rasputin (voiced by Christopher Lloyd) curses the Romanov family and some convenient Communists follow suit and murder them. Young Anastasia (Kirsten Dunst) escapes with Grandma (Angela Lansbury), but the two are separated, and Anastasia loses her memory. Ten years later in St. Petersburg, Dmitri (John Cusack) and Vladimir (Kelsey Grammer) are looking for someone to portray the princess to Grandma so they can collect a reward. An amnesiac Anastasia (say that three times fast) is released from an orphanage, and meets up with the pair. The three are off to Paris, not realizing the fake Anastasia, now voiced by Meg Ryan, is the real Anastasia. Rasputin, who died in the opening scenes, is somehow resurrected with some help from his "funny" sidekick, Bartok the bat (Hank Azaria), and tries to complete his curse by killing Anastasia, first with a train wreck (like this film) then permeating her dreams and having her sleepwalk off a ship.
I hated this movie. A good musical will use its songs to propel the plot or give us some insight into the characters, here they serve as nothing more but hopeful Oscar nominations. The animated cast sings and goes through dance numbers worthy of a Broadway show, even ending the tunes with flourish as if waiting for applause. For singing film Russians that actually work, watch one of the best musicals ever- "Fiddler on the Roof." Cusack, Lloyd, and Ryan sport American accents, yet Grammer has a Russian accent. Lansbury has her semi-British accent, and no one seems to try and get the cast on one specific accent. Is this Russia or not? Cusack sounds like he forgot his anti-depressants in his other pants, delivering his lines with a solemnity not heard since Ben Kingsley typed up "Schindler's List." Meg Ryan still believes she is in a romantic comedy, saying all her lines in a clipped delivery that is completely wrong for her noble character. There are five different writers credited here, and none of them could come up with a funny joke. One liners are tossed off that even my five year old would have groaned at, and the film lurches from scene to scene without any energy or fun. Don Bluth co-directed with Gary Goldman, and all the characters look like every other character he has ever drawn. Computer animation is mixed in with the hand drawn animation, but the two never mesh together well, leading me to believe it was done to hurry the film along through production.
Throw in the cute puppy, a rotting Rasputin, the annoying Bartok, and a plot that has been copied from better films, and "Anastasia" is a disaster. (*) out of five stars.
*Get a physical copy of "Anastasia" on Amazon here*
Sunday, May 12, 2024
Tune In: "Anarchy TV" (1998)
Director Blank brings Frank Zappa's children onboard in a decadent ninety minute comedy that entertains.
Channel 69 is the local public access station that plays shows like "Political Jeopardy" and "Eat Me." The shows blast the establishment, and push free speech and individualism. It is run by cute couple Jerry (Jonathan Penner) and Natalie (Jessica Hecht), hilarious paranoid Frank (Matt Winston), Katie (Moon Zappa), and Sid (Dweezil Zappa). Natalie is also a teacher, working her political agenda into subversive elementary school plays, much to the principal's (Mink Stole) chagrin. Natalie's dad is Reverend Wright (Alan Thicke), who buys the television station, disowns his daughter, and throws the group out onto the street. They try to protest their plight, but no one seems to care as no one was watching them in the first place. They hold a couple of disastrous rallies, where all their friends butt heads about their personal beliefs, are thrown in jail, and but bailed out by prostitute/fan Tiffany (Tamayo Otsuki). As the Christian station broadcasts on their station, the group hatches a new plan. They take the station by force and begin broadcasting their stuff again, much to the yawns and indifference of the viewing public. Even the police and press do not care. Frank discovers a safe in the station that holds the key to all his off-the-wall beliefs, and sets about breaking the combination. Tiffany suddenly gets a great idea, and viewers begin tuning in- nude aerobics will do that.
The film plays like a goofball version of "UHF," which I guess is a contradiction in terms. The film makers lampoon Conservatives as well as Liberals, but the final few minutes brings down all the silly fun of the film, and ends on a sour note. Moon and Dweezil Zappa are very funny in supporting roles, as is Ahmet Zappa as an abusive cop. Matt Winston is a riot as paranoid Frank, questioning everyone's motives. The sketches in the film run hot and cold, but it helps that a middle ground is found. If you are offended by a joke one minute, Blank finds something for you to laugh at the next. Actually, with free speech and personal freedom being preached, the political group who come off best in the film are the libertarians, not anarchists.
"Anarchy TV" is not great, but it has more laughs than some big screen successes, and contains off-color humor that works better than any "American Pie" film. See it, unless full frontal nudity and anti-establishment humor really bothers you. (* * * 1/2) out of five stars.
*Get a physical copy of "Anarchy TV" on Amazon here*
Channel 69 is the local public access station that plays shows like "Political Jeopardy" and "Eat Me." The shows blast the establishment, and push free speech and individualism. It is run by cute couple Jerry (Jonathan Penner) and Natalie (Jessica Hecht), hilarious paranoid Frank (Matt Winston), Katie (Moon Zappa), and Sid (Dweezil Zappa). Natalie is also a teacher, working her political agenda into subversive elementary school plays, much to the principal's (Mink Stole) chagrin. Natalie's dad is Reverend Wright (Alan Thicke), who buys the television station, disowns his daughter, and throws the group out onto the street. They try to protest their plight, but no one seems to care as no one was watching them in the first place. They hold a couple of disastrous rallies, where all their friends butt heads about their personal beliefs, are thrown in jail, and but bailed out by prostitute/fan Tiffany (Tamayo Otsuki). As the Christian station broadcasts on their station, the group hatches a new plan. They take the station by force and begin broadcasting their stuff again, much to the yawns and indifference of the viewing public. Even the police and press do not care. Frank discovers a safe in the station that holds the key to all his off-the-wall beliefs, and sets about breaking the combination. Tiffany suddenly gets a great idea, and viewers begin tuning in- nude aerobics will do that.
The film plays like a goofball version of "UHF," which I guess is a contradiction in terms. The film makers lampoon Conservatives as well as Liberals, but the final few minutes brings down all the silly fun of the film, and ends on a sour note. Moon and Dweezil Zappa are very funny in supporting roles, as is Ahmet Zappa as an abusive cop. Matt Winston is a riot as paranoid Frank, questioning everyone's motives. The sketches in the film run hot and cold, but it helps that a middle ground is found. If you are offended by a joke one minute, Blank finds something for you to laugh at the next. Actually, with free speech and personal freedom being preached, the political group who come off best in the film are the libertarians, not anarchists.
"Anarchy TV" is not great, but it has more laughs than some big screen successes, and contains off-color humor that works better than any "American Pie" film. See it, unless full frontal nudity and anti-establishment humor really bothers you. (* * * 1/2) out of five stars.
*Get a physical copy of "Anarchy TV" on Amazon here*
Saturday, May 11, 2024
This and That: "Analyze That" (2002)
**This review contains some spoilers** Robert De Niro and Billy Crystal return in a sequel that takes an unsubtle swipe at "The Sopranos," and offers little else. Paul (Robert De Niro) is in prison and Ben (Billy Crystal) has settled down into a routine life in suburbia with wife Laura (Lisa Kudrow) and his son. Someone is gunning for Paul in the big house, and Ben's father dies. Paul has a complete nervous breakdown, singing the score to "West Side Story," and he is released into Ben's care after some very funny psychoanalytic tests. Of course, Paul was faking and of course, the FBI knows, trailing the men as Paul must go out into the world and get a real job. After several employment mishaps, Paul is hired on as a consultant on the mob TV series "Little Caesar." There, he reunites with his old gang and they begin planning a huge heist. Meanwhile, Ben is still trying to grieve for the father he sometimes hated, popping pills and trying desperately to keep Paul in line.
Like its predecessor, "Analyze That" is merely okay. The focus here is definitely on De Niro, as he is featured in almost every scene. Ben takes a backseat in the film when in fact his situation dealing with his father's death (running gag: "He's grieving, it's a process") is more interesting than Paul's heist and double-crossing cronies. The film takes an almost angry look at "The Sopranos" in the form of its fictional show "Little Caesar." A fake movie about mobsters poking fun at a fake TV show about mobsters. While no laugh riot, there are some bright spots. De Niro has the funny psycho tests scenes, and Crystal is very natural while watching his life unravel. If you thought Kudrow's role in the first one was overpraised, then you will completely think the same here. Her lines seem hurried, like she did this over lunch hours during "Friends," and she is once again completely wasted in an underwritten role. Joe Viterelli is always good as Jelly, Paul's henchman, and Cathy Moriarty is fine as a rival crime boss. "Analyze That" is a ninety five minute sitcom, complete with end credits out takes, that has its likable characters and not much else. The initial "mobster/shrink" gimmick wore off long ago. (* * *) out of five stars.
*Get a physical copy of "Analyze That" on Amazon here*
Like its predecessor, "Analyze That" is merely okay. The focus here is definitely on De Niro, as he is featured in almost every scene. Ben takes a backseat in the film when in fact his situation dealing with his father's death (running gag: "He's grieving, it's a process") is more interesting than Paul's heist and double-crossing cronies. The film takes an almost angry look at "The Sopranos" in the form of its fictional show "Little Caesar." A fake movie about mobsters poking fun at a fake TV show about mobsters. While no laugh riot, there are some bright spots. De Niro has the funny psycho tests scenes, and Crystal is very natural while watching his life unravel. If you thought Kudrow's role in the first one was overpraised, then you will completely think the same here. Her lines seem hurried, like she did this over lunch hours during "Friends," and she is once again completely wasted in an underwritten role. Joe Viterelli is always good as Jelly, Paul's henchman, and Cathy Moriarty is fine as a rival crime boss. "Analyze That" is a ninety five minute sitcom, complete with end credits out takes, that has its likable characters and not much else. The initial "mobster/shrink" gimmick wore off long ago. (* * *) out of five stars.
*Get a physical copy of "Analyze That" on Amazon here*
Don't Be Fooled By the Snake That She Got: "Anaconda" (1997)
From its bizarre cast to its iffy effects, "Anaconda" has "cult film" written all over it.
A film crew run by Terri (Jennifer Lopez) and her professor boyfriend Steven (Eric Stoltz) are departing on a boat into the Amazon River Basin, trying to shoot a documentary on a lost tribe. Along for the trip is cameraman Danny (Ice Cube), sound techs Gary (Owen Wilson) and Denise (Kari Wuhrer), conceited narrator Warren (Jonathan Hyde), and shifty captain Mateo (Vincent Castellanos). Mateo seems to know Paul (Jon Voight), an unlikely Paraguayan priest/snake hunter who the film crew picks up and who knows how to find the lost tribe. Now, we already know there is one big snake shadowing the crew, and you know it's mean if it can kill Danny Trejo in the opening minutes of the film. Sure enough, the snake finds many opportunities, and meals, as it gets our heroes one by one.
"Anaconda" has enjoyed a cult following. The cast is mostly recognizable A-list now, running and screaming in a pulpy B flick. I even remember Oscar buzz around Voight, who wrestles, subdues, and chews every second of every scene that he is in. The film's reputation precedes it: Stoltz really is unconscious for half of the film, and the climax features one of the most memorable vomiting scenes in film history. While the cast is fine, the film's winking and knowing attitude gets in the way. I am not sure if the actors knew this was light stuff. Llosa's direction is great, and the river scenes are a cinematographer's dream, but only Voight seemed to be clued in to the campy possibilities of the screenplay. The animatronic effects are a hundred times better than the computer effects, a huge stumbling block, and unlike "Jaws," the screenwriters dumb down to the audience, looking for any excuse to put people in harm's way. Eventually, this turned me off.
"Anaconda" might be the best of the big snake genre considering its lousy in-name-only sequels, but the hype is more fun than the film. (* * *) out of five stars.
*Get a physical copy of "Anaconda" on Amazon here*
A film crew run by Terri (Jennifer Lopez) and her professor boyfriend Steven (Eric Stoltz) are departing on a boat into the Amazon River Basin, trying to shoot a documentary on a lost tribe. Along for the trip is cameraman Danny (Ice Cube), sound techs Gary (Owen Wilson) and Denise (Kari Wuhrer), conceited narrator Warren (Jonathan Hyde), and shifty captain Mateo (Vincent Castellanos). Mateo seems to know Paul (Jon Voight), an unlikely Paraguayan priest/snake hunter who the film crew picks up and who knows how to find the lost tribe. Now, we already know there is one big snake shadowing the crew, and you know it's mean if it can kill Danny Trejo in the opening minutes of the film. Sure enough, the snake finds many opportunities, and meals, as it gets our heroes one by one.
"Anaconda" has enjoyed a cult following. The cast is mostly recognizable A-list now, running and screaming in a pulpy B flick. I even remember Oscar buzz around Voight, who wrestles, subdues, and chews every second of every scene that he is in. The film's reputation precedes it: Stoltz really is unconscious for half of the film, and the climax features one of the most memorable vomiting scenes in film history. While the cast is fine, the film's winking and knowing attitude gets in the way. I am not sure if the actors knew this was light stuff. Llosa's direction is great, and the river scenes are a cinematographer's dream, but only Voight seemed to be clued in to the campy possibilities of the screenplay. The animatronic effects are a hundred times better than the computer effects, a huge stumbling block, and unlike "Jaws," the screenwriters dumb down to the audience, looking for any excuse to put people in harm's way. Eventually, this turned me off.
"Anaconda" might be the best of the big snake genre considering its lousy in-name-only sequels, but the hype is more fun than the film. (* * *) out of five stars.
*Get a physical copy of "Anaconda" on Amazon here*
Tuesday, May 7, 2024
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