‘Cradle of Fear’ (independent release)

Directed by Alex Chandon

As the name of the movie implies, there is a Cradle of Filth connection.  CoF vocalist Dani Filth plays “the man” in the requisite framing sequence.  Filth is some sort of demonic avenger sent by an imprisoned killer to dispatch the children of those who put him away.  Using his evil magic powers, Dani proceeds to visit the sins of the father on a series of mostly deserving victims.  First, a goth chick becomes infatuated with his morbid charms.  After a night of sex, drugs, and hallucinations in Mr. Filth’s company she wakes to find herself in a world seemingly inhabited by demons.  Worse yet, there’s something inside her womb and it wants to get out. 

The other stories involve a Betty Page look-alike and her friend in a robbery that turns murderous, a rich man with an artificial leg who feels inadequate without a flesh and blood limb and decides to acquire a more fitting replacement from an unwilling donor, and a guy obsessed with a snuff porno website whose morbid fascination leads him to an ironic end that you’ll see coming a mile away.  Meanwhile the police inspector who put our vengeful serial killer away the first time is investigating the latest series of murders, and begins to put two and two together, leading to a final confrontation in the asylum. 

Like most anthology films, ‘Cradle of Fear’ is uneven.  For a movie that revels in graphic violence and nudity, the stories also seem strangely moralistic.  Almost like modern Brother’s Grimm tales in which those who stray from the path of righteousness must be punished.  Where’s the shedding of innocent blood?  Performances are professional but not outstanding.  Director Chandon clearly has an eye for the macabre, though, and there’s plenty of disturbing imagery on display to give a viewer adequate nightmare fodder.  Unfortunately, being shot on video causes some of the effects to appear more obvious than they might have on film.  Definitely worth a look for gore fans and those wanting to see Cradle of Filth frontman Dani take a “stab” at acting.  This is scheduled to come out on DVD in the US through Image soon, but if you can't wait you can rent it at B-Ware or order online. (Bob Ignizio)

‘The Lord of the Rings: The Fellowship of the Ring' - extended version (New Line, 2001)

Directed by Peter Jackson 

I loved the theatrical version of director Jackson’s Tolkein adaptation.  It was a fun, big budget sword and sorcery film the likes of which hasn’t been seen since the days of Ray Harryhausen movies like ‘Jason and the Argonauts’ and ‘The Golden Voyage of Sinbad.’  That said, the theatrical version lacked Tolkein’s attention to detail, and moved at a pace that was far different from the leisurely stroll of its literary source.  For those who felt those differences weakened the film, this new DVD should be greeted with cheers. 

There’s about 45 minutes of additional footage included here, almost all of it dealing with character and setting.  Probably the largest chunk comes near the beginning, and gives a much fuller look at Hobbiton and the hobbits themselves.  For some the additional footage will no doubt seem to make the movie drag, but those who like to immerse themselves in the cinematic world they are entering will find this extra time well spent.

After the characters leave Hobbiton and begin their quest, most of the extra footage is in the form of slightly longer scenes.  A little added here, a little there.  The result is much greater depth for all the characters, and a better understanding of the world they inhabit.  Those hoping for the Tom Bombadill sequence will still be disappointed, though.  As fun a diversion as it is, it does nothing to move the story forward and has little bearing on anything that comes after.  Leaving it out was the right decision to make for the film. 

As much as I enjoyed the extra footage, I have to say I’m glad it wasn’t in the theatrical version.  I’ve got no problem sitting in a theater for a long time if I’m well rewarded, but even I have my limits, and at nearly four hours this extended cut would have likely tested them.  In the comfort of home, however, one can watch at his or her own pace, and in that context the extended version is the way to go.  (Bob Ignizio)

‘Lovely and Amazing’ (Lions Gate, 2001)

Directed by Nicole Holofcener

I’m sure a lot of guys will avoid renting this because it’s a “chick flick”.  That’s too bad, because good films transcend gender, and ‘Lovely and Amazing’ is a good film.  No “action”.  No violence.  Not much sex.  Just a well written, well acted film about real people.  The film concerns itself with the lives of Jane Marks (Brenda Blethyn) and her family.   Her two genetic daughters - failed artist Michelle (Kathryn Keener) and up and coming actress Elizabeth (Emily Mortimer) - and her adopted child, a pre-teen black girl named Annie (Raven Goodwin).  Jake (Donnie Darko) Glyllenhal also turns in a nice supporting performance as Jordan, Michelle's teenage boss.   

As the film starts, the two grown daughters are in unfulfilling relationships, mom is going in for liposuction, and Annie is clearly having issues.  This could easily be the recipe for Oprah endorsed schmaltz.  Thanks to an intelligent screenplay and excellent performances, however, ‘Lovely and Amazing’ gracefully sidesteps the cloying sentimentality and phoniness often exhibited by this sort of material.     

We’re essentially dealing here with issues of women’s fulfillment, and how the media shapes people’s self image.  ‘Lovely and Amazing’ never gets preachy, though.  Men are not portrayed as insensitive louts who don’t understand their women.  In fact, Elizabeth's boyfriend  understands her better than she does herself.  And even though Michelle's husband is cheating on her, he’s not portrayed as a complete asshole.  The main focus of the story, however, is Annie.  Struggling with her identity, reaching out for attention, when her mom tells her that the liposuction surgery she’s undergoing is to “make an improvement” she sees no reason why she shouldn’t try to make herself appear more white.   

Hollywood’s idea of good starring role for a woman is something like Meg Ryan in ‘Kate and Leopold’; a phony, one dimensional caricature just waiting for some time traveler from the romantic past to come and sweep her off her feet.  Movies like ‘Lovely and Amazing’ that actually give an actress something to sink her teeth into are far too rare.  Don’t pass this one up.   (Bob Ignizio)

'Pumpkin' (MGM, 2002)

Directed by Adam Larson Broder and Anthony Abrams 

Is it too much to expect that a movie have a consistent tone?  That’s all I’m asking for.  ‘Pumpkin’ is the story of a vapid sorority girl (Christina Ricci) whose volunteer work with the mentally and physically challenged character of the title (played by Hank Harris) leads to something like romance.  It’s a delicate subject matter, and you can either handle it with warmth and taste, or go for full on John Waters-esque camp.  Unfortunately, this movie wants to have it both ways, and it just doesn’t work.  Warning to Christina fans – she sucks in this movie.  I don’t blame her, though.  If even the filmmakers don’t know what tone they're going for, how can the actress figure it out? 

First of all, the self absorbed “popular girl” shtick has been done to death.   ‘Pumpkin’ is clearly striving for the level of satire attained by ‘Heathers’, but winds up nearer to the depths of bad teen comedy.   Yes, I get it.  Girls in sororities are ignorant and self absorbed.  Is it really necessary to waste half this movie’s running time on that?  Apparently so, as the movie takes frequent diversions from the main plot to focus on the stupidity and shallowness of Christina and her sisters. 

That brings us to our next problem.  This is an hour and a half movie painfully stretched to two hours.  A decent editor could have easily excised several pointless asides, mostly involving Christina’s hunk boyfriend playing tennis.  Did they think that if they made it longer, it would seem more like a serious character driven independent film?  For characters to drive a film, they have to be more than cardboard stereotypes.  They need to have depth and humanity.  There’s none of that on display here. 

There are occasional laughs in ‘Pumpkin’.  Even one or two scenes that come close to achieving emotional resonance.  If the directors could have just made up their mind on what kind of movie this was supposed to be, and made the necessary cuts, this might have been a worthy “B” picture.  Instead it’s just a schizophrenic mess. (Bob Ignizio)