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THE WARRIOR:
An action-filled epic starring Ziyi Zhang (House of Flying Daggers, Crouching Tiger, Hidden Dragon, Hero, upcoming Memoirs of a Geisha), The Warrior recounts the tale of a group of Korean envoys who entered China on a mission and were never heard from again. Captured and accused of espionage by Ming warriors, the Korean delegation is exiled by their captors to a remote desert. On their journey back to Korea, they rescu a kidnapped Ming princess (Zhang). In their effort to take the princess to safety, the group encounters rival Mongol warriors whom they face in a breathtaking battle scene.

HOUSE OF FLYING DAGGERS:
“Prepare your eyes for popping,” in this “martial-arts fireball that throws in a lyrical love story, head spinning fights and dazzling surprises” (Rolling Stone). “A gorgeous entertainment” (A.O. Scott, New York Times). Mei is an exotic, beautiful blind dancer, associated with a dangerous revolutionary gang, known as the House of Flying Daggers. Captured by officers of the decadent Tang Dynasty, Mei finds herself both threatened – and attracted – to the most unusual circumstances. Here, her heart and loyalties battle each other, amid warriors in the treetops and dazzling combat – the likes of which have never before been seen.

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Bechi, Caniglia, Gigli, Gobbi, Schipa; Nives Poli and the La Scala Ballet; Ornella Santoliquido and Franco Mannino; Lollobrigida; Costa, dir. Barbiere (2), Carmen, Chenier, Norma, Pagliacci, song, plus “Invitation to the Dance” (Weber) and “La campanella” (Paganini-Liszt). (1948) 95m. Italian, with non-optional English subtitles. B&W.

DVD Region 0 (all regions) PCM audio.

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At the top of his game, Stephen King has a real gift for mining monsters–zero-at-the-bone horror–out of everyday faces and places. Adapted from a novella in the 1982 collection that also spawned Stand by Me and The Shawshank Redemption, Apt Pupil looks at first as if it might draw authentically enlightening terror from the soul-cancer that makes blood relations of a Southern California golden boy (Brad Renfro) and an aging Nazi war criminal (Sir Ian McKellen). Turned on by a high-school course about the Holocaust, Todd Bowden (such a bland handle for this top-of-his-class sociopath!) tracks down Kurt Dussander, a former Gestapo killer hiding in the shadows of sunny SoCal. Blackmailing the old man into sharing his firsthand stories of genocide, the teenager trips out on the virtual reality of the monster’s memories. There’s perverse play here on the way a kid hungry for knowledge can bring a long-retired teacher or grandparent back to life. Truly superb as James Whale in Gods and Monsters, McKellen brings subtlety to this Stephen King creepshow: his dessicated Dussander is like a mummy or vampire revivified by Todd’s appetite for atrocity.

Considerable talent intersects in Apt Pupil: It’s director Bryan Singer’s first film since The Usual Suspects, that enormously popular, rather heartless thriller-machine. The outstanding cast also includes David Schwimmer as a Jewish guidance counselor pathetically impotent in the face of Todd’s talent for evil, and Bruce Davison as Todd’s All-American Dad, lacking the capacity to even imagine evil. And the story itself has the potential for gazing into the heart of darkness right here in Hometown, U.S.A. But Apt Pupil just turns ugly and unclean when it trivializes its subject, equating Holocaust horrors with slamming a cat into an oven or offing a nosy vagrant (Elias Koteas). Reducing the great spiritual abyss that lies at the center of the 20th century to cheap slasher-movie thrills and chills is reprehensible. Both Todd and the writers of Apt Pupil should have heeded the old saw: When supping with the devil, best use a long spoon. –Kathleen Murphy

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Monte Hellman’s Cockfighter, adapted by cult noir writer Charles Willeford from his novel, is a strange bird indeed, an art film for an exploitation audience. Set in the game-fighting pits of the Deep South, it follows a season on the circuit with Frank Mansfield (Warren Oates), a veteran fighter whose hubris has cost him everything and who rebuilds his stable and his reputation while honoring a vow of silence. Costars Harry Dean Stanton and Laurie Bird previously appeared with Oates in Hellman’s cult classic Two-Lane Blacktop. There are also appearances by Millie Perkins, Steve Railsback, Richard B. Schull, and writer Willeford, who acquits himself nicely as a pit judge.

Oates’s portrayal of a determined, silent obsessive is almost minimalist yet beautifully expressive, accomplished with gestures, smiles, and nods. He’s thoughtful and gentle yet dedicated to bloodsport, and his contradictions can be felt in the tension between the comic adventures and gritty stories of Willeford’s script, with the meditative intensity of Hellman’s often serene direction and cinematographer Nestor Almendros’s lovely images of the Deep South’s rural beauty.

Cockfighter was one of the few films produced by “King of the B’s” Roger Corman that lost money, so he added a dream sequnce full of nudity, created a trailer with action scenes nowhere to be found in the film, and rereleased the film under the title Born to Kill. Needless to say, Anchor Bay has returned to Hellman’s original cut, which does contain footage of real and often savage cockfights. Animal lovers and squamish viewers beware.

The accompanying documentary Warren Oates: Across the Border is a genial if ultimately lightweight portrait of the actor by friends and fellow performers Ben Johnson, Stacy Keach, Peter Fonda, and his Cockfighter compatriots Harry Dean Stanton, Millie Perkins, and Monte Hellman.

The DVD also features commentary by Hellman and production assistant Steven Gaydos, along with moderator Dennis Bartok. –Sean Axmaker

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Includes the following titles:

Disk 1: THE DAY AFTER TOMORROW Disk 2: CHAIN REACTION Disk 3: VOLCANO

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Movie Title: Barton Fink
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Barton Fink is available for streaming or downloading.

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Welcome to the wonderfully wacky world of the Coen brothers. Joel and Ethan Coen are two of the most radiant filmmakers in America today. Every film they turn out is a cinematic gem, and “Barton Fink” is no exception.

The film centers around a slightly pompous, idealistic, left cruise playwright, Barton Fink (John Turturro), who in 1941, after becoming the toast of Broadway as the pretentious mumble of the celebrated man, goes west to Hollywood at the invitation of a major studio in order to try his hand at writing screenplays.

There, he meets studio head, Jack Lipnick (Michael Lerner), and his yes man and whipping boy, Lou Skedaddle (Jon Polito) . Asked to write a screenplay for a Wallace Beery vehicle about wrestling, a subject about which the bookish Fink knows nothing about, causes Fink to go into a professional tailspin.

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Ensconced in a decaying extinct hotel, seemingly urge by its slightly creepy and unctuous bell hop, Chet (Steve Buscemi), who bizarrely appears on the scene out of a trapdoor slack the hotel’s front desk, Fink begins his ordeal . The elevator is rush by a cadaverous, pock marked, elderly man. The corridors of the hotel seem endless. The wallpaper in Fink’s room is peeling away from the wall, leaving a viscous, damp ooze in its wake. His bed creaks and groans with a life of its absorb. It is also hot, oppressively hot.

No residents of the hotel are apparent, except for the appearance of shoes outside the doors in expectation of the free shoe shine the hotel offers its denizens and for the noise made by his neighbors. Finks meets one of his neighbors, the portly Charlie Meadows (John Goodman), a gregarious Everyman, possessed of an abundance of bonhomie. A self-styled insurance salesman, Charlie cajoles Fink out of his shell, befriending him in the process. Minute does Fink know that beneath Charlie’s congenial exterior lies a horrific secret that will spillover onto him in the not so distant future.

At a luncheon with studio under boss, Ben Geisler (Tony Shalhoub), Fink meets a notorious writer that he reveres, W. P. Mayhew (John Mahoney), a southern sot so steeped in drink that his companion/secretary, Audrey Taylor (Judy Davis), has to do his writing for him. Fink falls for Audrey but finds his overtures rebuffed. Tranquil, she is willing to try and benefit him overcome his profound writer’s block. In a classic Coen twist, it is this single act of kindness that acts as the catalyst for the nightmare that makes Fink’s life become a living hell on earth. He goes from living a life of self-imposed isolation and angst to one that appears to have been created by a Hollywood hack, filled as it is with the most wonderful situations, a actual studio head’s dream.

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John Turturro is terrific as the introverted, tightly hurt, pretentious, and neurotic Fink, who in Hollywood, away from the womb of the Astronomical White Plot, is like a lamb led to the slaughter. With his sculpted afro, horn rimmed glasses, nerdy clothes, Fink is the stereotypic Hollywood thought of the commie writer. John Turturro makes the role his with a purposeful intensity.

John Goodman is sensational as the garrulous Charlie Meadow, the epitome of the working class man about whom Fink likes to write. Unfortunately, all is not as it seems, as Charlie has a black side to him, a very dusky side. John Mahoney is helpful as the Faulknerian-like writer, and Judy Davis outdoes herself, as the self-sacrificing Audrey Taylor.

Michael Lerner will razzle-dazzle the viewer with his over the top portrayal of a mercurial talking studio head who is willing to pay grand bucks for the cache of having a top Broadway playwright turn out screenplay swill for the masses. Jon Polito is very suitable as the Uriah Heepish, quintessential yes man he portrays. Tony Shalhoub is profitable in his role, underscoring the absurdity of the stale Hollywood studio system.

Steve Buscemi, looking surprisingly shrimp in his bell hop uniform, resembles an organ grinder’s monkey, at times. The viewer may also put a question to him to weep, “Call for Phillip Morris”, as in the faded cigarette campaign, though he speaks in a controlled, respectful monotone, at all times. Unruffled, his very presence adds a slightly infamous quality to the film, though he does nothing remotely substandard, other than the diagram he makes his camouflage appearance. His entrance onto the mask in this fashion foreshadows what is to reach.

This film is not for everyone, as it does not have a neatly wrapped ending. Instead, it goes beyond the standard expected ending into an absurdist foray. Composed, those who cherish films by the Coen Brothers will not be disappointed by this satiric recognize at Hollywood. It is microscopic wonder that this film became the darling of the Cannes Film Festival.

For a long time, the absurdist masterpiece Barton Fink was only available in a dingy VHS release. It was better than nothing, but this film deserved better. Thankfully, it’s here – in all its stupefying glory.

I won’t narrate the myth. Plenty of other reviews do that. Not long ago I was tempted to define it. That tranquil seems a suitable course, as there is a suited sense that, beneath its laughable, surreal surface, Barton Fink is trying to jabber us something urgent and well-known. Perhaps, but the primal forces in a writer’s mind as s/he shapes a huge narrative do that, anyway – often without the writer’s specific knowledge.

Rather than a simple allegory, Barton Fink is a collection of surfaces, styles, textures, and mannerisms. That they seem to add up to more than the sum of their parts is the vast trick, akin to the method a painter can suggest the dappled depths of a forest with a few deft pats of a fan brush. Which isn’t to say the film is shallow. No; there is a lot going on here. But to suggest that this film has a specific meaning is also to suggest it has an acknowledge. Only mediocre films (by the likes of, say, Stanley Kramer or Oliver Stone) provide answers in a attempt to manufacture themselves more necessary. The Coens (writer Ethan, director Joel), like most of us, haven’t a clue about the Mysteries of Life. So they don’t try to “…insist us something about all of us, something heavenly…” as Fink himself professes. Instead, they savor “…making things up…”, like the other writer in the film, the Faulkneresque W.P. Mayhew (played to perfection by John Mahoney) .

Somewhere in here, though, the sleight-of-hand, the postmodern flourishes (wherein genres clash and surfaces spill over one another in unexpected ways), cracks appear. Through them we peek something else…something truly ugly.

Barton Fink’s resonances with the Holocaust are celebrated (the noxious and Fascistic German and Italian cops, the Jewish Fink, the burning hallway, the story’s year – 1941, the nice guy next door – also with a German name – who turns out to be a madman; on and on) . These touches cannot be accidental. Yet, the Coens seem to have deliberately avoided any clear throughline, any markers which would provide for a positive interpretation.

Perhaps this is the point – that there is no plan to create sense of the madness. Barton Fink, the character, is a writer who tries to celebrate the “accepted man” – to write about “steady life”. Yet, right life is incomprehensible to him. Nice Guy Charlie Meadows (the estimable John Goodman) is a bent murderer. His idol is a raving drunk. His muse is a purveyor of formula hackery. The authorities are openly anti-semitic. And his bosses – Lipnick (Michael Lerner) and Geisler (Tony Shalhoub) – are utterly indifferent to his craft. The events that unfold around him are too horrifying and peculiar to create sense of. Simply set, they cannot be explained by any rational interpretation. Which, if this film is really a parable of the Holocaust, is as it should be, since there is no rationale in genocide.

When it comes to “making things up”, no one does it better than the Coens. Their skill in marshalling symbols is sublime: Mayhew’s latest book is called “Nebuchadnezzar”; Lipnick, like king Nebuchadnezzar, has a dream he wants Fink to justify (the wrestling film he’s writing for Wallace Beery) . At a necessary point in the film, a dazed, sleepless Fink opens the Gideon bible to the page where Nebuchadnezzar threatens to lop the Chaldeans’ tents to a dung-heap if someone cannot define his dream. He flips to Genesis, and there, on the page, is the opening of his screenplay – the only piece of it he’s been able to write. It’s a shimmering sequence, that truly adds up. Lipnick is Nebuchadnezzar; Fink is trying to be Daniel. There is (literally) Hell to pay if he cannot do the job.

Beyond a few moments like these, though, trying to impose a specific meaning on Barton Fink is folly – like trying to impose a specific meaning on any of Luis Bunuel’s better films. There is something about it that, like Lynch’s best work, goes just past the rational self and nestles more deeply in the unconscious. I gather something from every viewing of this film, and fragment of its beauty is that I cannot whisper exactly what that is.

This DVD is nicely produced, with Roger Deakins’ comely cinematography looking better than ever, and Dolby Surround sound track well reproduced. A 5.1 re-mix would have been welcome, as would a serious commentary track, should the Coens ever be able to bring themselves around to doing one that doesn’t move fun of commentary tracks.

John Turturro is respectable as the title character. Judy Davis acquits herself nicely as Mayhew’s secretary/lover/ghost-writer.

This is one of those films that’s worth really thinking about, and watching again and again. Don’t put a question to answers; put a question to an experience – and a mighty one at that.
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Take away the Fairy Godmother, and what have you got left from the Cinderella fable? The story of a girl for whom a bad stroke of luck is no match for her internal strength and purity of heart. Drew Barrymore plays Cinderella’s alleged inspiration, Danielle, in this romantic drama that purports to tell the “facts” behind the Grimm brothers’ story. One of three daughters of a man (Jeroen Krabbe) who dies and leaves her fate in the hands of a conniving stepmother (Anjelica Huston), Danielle is cast into the lowly role of a servant. Meanwhile, her sisters are evaluated as possible mates for a French prince (Dougray Scott), but he’s far more intrigud with Danielle’s intelligence and beauty–not to mention her way with a sword and fist. Directed by Andy Tennant (who directed Barrymore in TV’s The Amy Fisher Story), Ever After has that rare ability to win the heart and mind of a viewer simply by being committed to its own innocence, particularly where Barrymore’s luminous performance is concerned. A contemporary take on an old, virtually forgotten Hollywood convention–the costume adventure with middling artistic ambition but real audience appeal–Ever After is a surprisingly delightful film. –Tom Keogh

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An offbeat comedy that stars Stephen Collins and Diane Lane as a New Jersey couple who have no business owning a handgun. The eccentric neighbors’ troubles become the couples’ when the gun finds its way into their condo, guaranteeing that no one’s life will ever be the same again. Starring: Diane Lane (2003 Academy Award

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