Allison Pitaccio

Director Uwe Boll Pukes Out Another Opus of Insufferable Screen Time in ‘Postal’

HollywoodChicago.com — Tue, 29 Apr 2008 22:50:38 -0700

CHICAGO – At the Chicago screening of “Postal” for critics, director Uwe Boll introduced his new film as a personal “The Kentucky Fried Movie” attacking the heart of America. Boll – a German national – has produced several “B”-grade movies in both Germany and the U.S. However, “Postal” is his first attempt at writing and directing within the American market.

“Postal”.
Photo credit: MovieSet

Including “Postal,” his last few films have all been notorious cinematic adaptations of controversial video games. Boll’s opening rant prior to the “Postal” screening offered his personal disgust for this forced and depraved genre.

Poking fun at himself and his filmmaking, this charismatic director expressed his political angst and outlandish humor to the audience and had them laughing and commiserating before the screening even began.

I initially took this as a good omen and my previous notions of “B” cinema began to quell. That said, Boll’s final remark “if you were all drunk, you will like it” became an accurate adage of the film’s overall character.

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This film offensively opens with two terrorists flying a plane and arguing over the amount of virgins they will each receive in Paradise. They end up settling the dispute by calling Osama bin Laden on the phone and are both perturbed that the number is less than they had originally thought.

Therefore, they change the plane’s direction for the Bahamas. While the plane changes course, the angry mob of American passengers storms the cockpit and the plane crashes into the World Trade Center. This commences Sept. 11, 2001 and sets the tone for a despicable, 109 minutes of cinema.

From Sept. 11, 2001 forward, the film continues in a downward spiral of shock-and-awe obnoxiousness. The story begins with the “Postal Dude” (Zack Ward) facing a bad turn of events in his trailer park town of Paradise.

From finding his obese wife cheating on him to a horrendous job-interview process at the “Gluttco” corporation to a shootout at the welfare office, Postal Dude seeks out his Uncle Dave (Dave Foley).

“Postal”.
Photo credit: MovieSet

Uncle Dave is the leader of the “Organic Monotheism” cult where he parades around fully nude and has daily orgies with silicone followers.

Together, uncle and nephew devise a plan to steal the impossible-to-get, Tickle Me Elmo-esque “Crotchy Dolls” (shaped as anatomical body parts) and sell them on the Unternet for astronomical prices.

As their plan is paralleled by the Taliban, the two groups show up at the “David Hasselhoff Concentration Camp playground” where the dolls are being unveiled to steal the highly sought-after toys.

A shootout ensues and hundreds of children are shot and killed while playing at the playground.

Zack Ward in “Postal”.
Photo credit: MovieSet

The shooting continues for the rest of the film and hundreds if not thousands of absurd rounds of ammunition are expelled.

Avian flu, atomic bombs and solidarity are the main themes throughout this opus of insufferable screen time while nausea seems to be the only thing you take with you when the film comes to its nuclear holocaust of a closing.

If the synopsis alone isn’t enough to disgust you, misfired jokes about the handicapped, concentration camp victims and Sept. 11, 2001 are meant to make you politically active. In reality, though, all this does is cause your jaw to disengage.

More blood and guts than anything since the last “Saw” was most likely intended as a parody for all the violence and gore in American films. Once again, though, Boll’s attempt at making Americans laugh is unsuccessful and only adds to an already open mouth and gastric stomach.

The efforts at political satire and taboo topics can be commended for bravery and the meshing of a video game into a movie can also be recognized in accuracy.

Still, the overall distaste of this feature has quite possibly earned “Postal” the rights to a new movie genre much further along in the alphabet than the letter “B”. “Postal” is a film I have placed at the bottom of my list and can only hope to forget.

“Postal” opens in theaters nationwide on May 23, 2008.

By ALLISON PITACCIO
Staff Writer
HollywoodChicago.com
allee@hollywoodchicago.com

Blueberries Meet Luscious Taste Buds in ‘My Blueberry Nights’ With Jude Law, Rachel Weisz

HollywoodChicago.com — Fri, 18 Apr 2008 07:01:00 -0700

CHICAGO – We see sensual close-up shots of blueberry pie overflow with aqueducts of vanilla ice cream in Wong Kar-Wai’s opening sequence of “My Blueberry Nights”. This dreamy scene sets the tone of the latest film from the famous Chinese director as he confronts the West with his unique cinematic style.

Rachel Weisz in Wong Kar-Wai’s “My Blueberry Nights”.
Photo credit: MaCall Polay, The Weinstein Company

Split into three separate stories, the film begins in a bohemian New York café owned by Jeremy (Jude Law) where Elizabeth (Norah Jones) discovers that her boyfriend has left her for another woman.

Distraught, she leaves her keys with sympathetic Jeremy and hopes her ex will pick them up at the café and be out of her life forever.

Elizabeth seeks comfort in Jeremy’s companionship and accepts his advice over leftover blueberry pie. Still, her heart is broken. Elizabeth decides she must go on a journey to reinvent herself.

She travels the country by bus and stops first in Memphis where her part in the film becomes more of an observer than a participant. Elizabeth takes on two jobs: one as a diner waitress and the other as a cocktail server. She befriends a customer at the bar, Arnie (David Strathairn), who’s an alcoholic cop grieving the loss of his wife’s faithfulness.

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Rachel Weisz plays Arnie’s wife, Sue Lynne, who parades around in sultry scenes with younger boyfriends until Arnie loses his cool. He not only threatens her young boyfriend but also threatens Sue Lynne’s life. After realizing his marriage has ended, he offs himself by crashing his car and leaves Elizabeth to comfort his now-heartbroken wife.

Throughout her adventure, Elizabeth keeps in contact via postcards with Jeremy in New York. They build a long-distance relationship. Jeremy continuously tries to reach her and eventually is confronted by his own heartbroken past, which he’s finally able to close.

Elizabeth moves on in her process and ends up in a Nevada casino where she waitresses yet again. At work, she meets Leslie (Natalie Portman): an amateur gambler on a losing streak. Somehow Elizabeth makes a deal with Leslie and gives all her savings in exchange for her brand-new Jaguar.

They end up taking a trip to Las Vegas to settle the differences of the bargain while Elizabeth helps Leslie deal with the death of her father. After a 300-day journey, Elizabeth makes it back to New York City to the café to eat her blueberry pie and be with Jeremy. She’s now ready to embrace the love that Jeremy and her have created.

Norah Jones (left) and Natalie Portman in Wong Kar-Wai’s “My Blueberry Nights”.
Photo credit: MaCall Polay, The Weinstein Company

Cinematically this film is beautiful. Sweltering close-ups and sensational highlights are often slowed down to accentuate the feelings of melancholy and lost love.

Scenes reminiscent of Edward Hopper’s famous “Nighthawks” create a loneliness with which only those who have loved and lost can associate.

Ornamental details like cigarette smoking and messy handwriting keep the settings tight and constrictive. This shows the suffocation that can be caused by the emotions of love.

Jones’ acting ability is natural, and like her breathy tunes, it keeps the film surreal and airy. Her character represents the shock of heartbreak and will be identified with to those who have been through the same. Law delivers an excellent supporting performance and his enthusiasm compliments Jones’ vacant character.

Portman’s gambling southerner is boisterous to Jones’ blues. However, Portman’s anything but believable.

Jude Law in Wong Kar-Wai’s “My Blueberry Nights”.
Photo credit: MaCall Polay, The Weinstein Company

Stratharin’s character is over the top and Weisz doesn’t break out of an “actress” in her scenes. The story skips forward with titles representing the day of her journey. This creates an awkward shakiness that’s fortified with interjections of high-volume, often-distracting soundtrack.

While Elizabeth goes on her soul-searching journey, it isn’t clear how she as a character changes or adjusts to what she has been through.

Though she sees failed love and addictions take control of others, the relevance of it to her own life is watered down. While the idea somehow flows overall, it won’t be accepted by the classic moviegoer.

Emotionally deep messages and sentimental concepts about losing love and depending on others as a mirror are key elements in this tale. “My Blueberry Nights” conjures up profound feelings from the heart and will call only to those who can put themselves into Elizabeth’s place of heartbreak.

Art houses around the world will grace this film on their screens and hopeless romantics will relate. The eccentric film will linger in the place where your blues reside and make you think about your own heart whether you want to or not.

“My Blueberry Nights” opened on April 18, 2008. In Chicago, the film is showing at AMC River East, AMC Loews Pipers Alley, Century Evanston and Landmark’s Renaissance Place Cinema.

By ALLISON PITACCIO
Staff Writer
HollywoodChicago.com
allee@hollywoodchicago.com

Despite Stylistic Inconsistency, George Clooney’s ‘Leatherheads’ Feels Good

HollywoodChicago.com — Thu, 03 Apr 2008 23:46:42 -0700

CHICAGO – George Clooney’s latest film, “Leatherheads,” brings light-hearted, screwball antics and slapstick blunders to the screen with a romantic tale that tells how professional football came to be.

Set in 1925, fading football star Dodge Connelly (George Clooney) attempts to save the professional game by recruiting a college football hero to save the sport. The film begins with a game of ragtag football in a stadium shared by cattle where oddball plays and dirty tricks are welcomed.

George Clooney (left) in “Leatherheads”.
Photo credit: IMDb

Few fans come to the games and barely follow the sport – due to their often illegal consumption of booze – but when Dodge is told the team is bankrupt and the sponsors are selling, he’s determined to find a solution for his beloved team (the Duluth Bulldogs).

Dodge recruits Carter Rutherford (John Krasinski) – the Princeton football star and a war hero – to join his team and attempts to propel professional football forward by capturing the hearts of the country.

While Dodge is working to promote Carter’s good looks, amazing athletic ability and heroism, spitfire reporter Lexie Littleton (Renée Zellweger) is asked by her newspaper to discredit the war hero story by getting close to him and exposing the truth.

As Lexie hunts for her story, Dodge and Carter compete for her affection. Funny banter and mishaps galore ensue between the captain and his star player.

Renée Zellweger and George Clooney in “Leatherheads”.
Photo credit: IMDb

The story culminates when Lexie exposes Carter as a war hero fraud and Dodge loses his star to jealousy, which perpetuates major changes to the sport of professional football.

Typical romantic comedy calamities take place and Dodge is forced to choose between the sport he once loved – with pig-in-a-poke and crusty-bob plays – or the new woman he has fallen in love with.

Clooney and Zellweger bring great energy to the film and their back-and-forth flirtations keep the movie enthusiastic.

Lines like “I’m just practicing my American accent” to ream Clooney for not listening and “you’re only as young as the women you feel” to explain age differences are riddled throughout and bring poppy yet naturally delivered humor to the story.

George Clooney shooting “Leatherheads”.
Photo credit: IMDb

Krasinski delivers a commendable performance as the pretty-boy football star and flawlessly follows suit with Clooney’s screwball sense of humor.

Set in the roaring 1920s with prohibition and World War I themes weaved throughout, the production design is impeccable and undoubtedly places you in the stadium with the crowd. Appropriate costumes and jazzy tunes make this film not only historically accurate but colorful as well.

On the other hand, the story – just like the ragtag football team it follows – is a bit rugged and disjointed.

Director Clooney takes us into a heavy-dialogued script that’s reminiscent of past Joel and Ethan Coen comedies and leads us back and forth between romantic comedy antics and slapstick horseplay. This disjointedness would be acceptable except that it causes inconsistency with its overall pace and rhythm.

At times, the film drags on around predictable plot turns and loses its overall focus. This makes it drowsy and leaves you wondering why we’re watching these excessive and often tiresome scenes.

Aside from some momentum snares and trite turns, though, the film succeeds in the entertainment department. If you’re looking for a movie to make you laugh and take your mind off the present day, this film will accomplish both.

“Leatherheads” opened on April 4, 2008.

Click here for our full “Leatherheads” image gallery!

By ALLISON PITACCIO
Staff Writer
HollywoodChicago.com
allee@hollywoodchicago.com

‘Wild Ocean 3-D’ in IMAX Offers Breathtaking Cinematography, Profound Message

HollywoodChicago.com — Mon, 17 Mar 2008 21:04:57 -0700

CHICAGO – “Wild Ocean 3-D” – an unforgettable nature documentary playing now in IMAX at Chicago’s Navy Pier – dives to the depths of the ocean and through the vastness of the sea with breathtaking 3-D cinematography and a profound message for all mankind.

From plankton to sardines, dolphins, seals, whales, sharks, gannets and man, Mother Nature’s greatest example of the food chain has been captured off the Wild Coast of South Africa and preserved on film in this educational documentary.

An African penguin stands tall atop a rock on Bird Island,
Eastern Cape in the IMAX film “Wild Ocean 3-D”.
Photo credit: Steve McNicholas

The film takes place along the spectacular South African coast where the Zulu and the Western worlds meet at Kwazulu Natal, which is where tropical meets the sea on the Wild Coast.

Cold-water currents push giant schools of sardines up the eastern coast and warm currents push this bait toward the shore.

When this auspicious chain of events occurs, a dazzling cornucopia of life creates the greatest underwater feast in the world.

Whether it’s the scent of sardines, the amount of fish oil in the water or simply because it’s an annual occurrence, every participating sea creature arrives in schools of thousands and cordially coexists for this solitary event as if it were their Thanksgiving.

Breaking surf sprays behind a fisherman on the rocks of Sezela
Beach, KwaZulu-Natal in the IMAX film “Wild Ocean 3-D”.
Photo credit: Steve McNicholas

The thousands of sardines – sometimes stretching as far as 10 miles – form giant “bait balls” that are meant to distract predators yet seem to dazzle the human eye with nothing short of miraculous spectacle.

As every sea creature anticipates the first move, Zulu fishermen wait with nets and poles, buckets and even full skirts to collect the sardines from the shoreline.

Zulu women collect shells from tide pools and dance in a 160,000-year-old ritual for the reaping on this day. Dolphins shoot like missiles through the bait balls and an underwater battle begins that stirs a frenzy of bombing gannets, torpedoing sharks and rapid-firing seals.

When the spectacle finishes, the film leads us down the righteous path. It relays the importance of pursuing sustainable fishing practices and following the footsteps that Africa and New Zealand have started with the creation of protected coastlines and marine preserves.

Waterfall Bluff, Transkei in the IMAX film “Wild Ocean 3-D”.
Photo credit: Steve McNicholas

The beauty of both landscape and seascape are captured by the incredible 3-D cinematography in this film. “Wild Ocean 3-D” is narrated by a native South African, which adds to the educational elements of the film and creates an even greater appeal for teachers and students alike.

Great factual knowledge is given throughout this sea epic that leaves the viewer more environmentally conscious than before.

Without being too preachy, addressing the issues of marine preserves and coastline protection give this beautiful documentary good purpose and makes it a must-see event for science students and sea lovers around the globe.

This is an excellent film to experience at any age, and with its 3-D effects, it gives the already amazing ocean an even more incredible depth. The only real criticism lies in its length: 40 minutes might be long enough to get the environmental message across but never long enough for someone who loves the sea.

“Wild Ocean 3-D” opened at Chicago’s Navy Pier IMAX screen on March 14, 2008.

Click here for our full “Wild Ocean 3-D” image gallery!

By ALLISON PITACCIO
Staff Writer
HollywoodChicago.com
allee@hollywoodchicago.com

Dr. Seuss’ ‘Horton Hears a Who!’ Heard Loudly Into Instant Children’s Classic

HollywoodChicago.com — Thu, 13 Mar 2008 19:15:36 -0700

CHICAGO – One of Dr. Seuss’ most famous storybooks has finally been granted life with its self-titled animated feature “Horton Hears a Who!,” which involves a morally righteous elephant, philosophical timbre and Dr. Seuss’ ingenious lyrical rhymes.

A star-studded cast supports this vibrant tale and Dr. Seuss’ ethical elephant and morally slated advice about equality are well represented in this CG-animated adaptation.

“Horton Hears a Who!”.
Photo credit: IMDb

The elephant Horton (Jim Carrey) comes to the rescue of a speck crying for help as it floats by in the colorful jungle of Nool.

When Horton decides to help the speck even though he can’t see the Whos who inhabit it, the famous line “a person’s a person no matter how big or how small” comes into the film and sets the Suessian tone of the tale.

After Horton and the mayor of Whoville (Steve Carell) initiate communication, they work together to help save the planet of Whoville from total destruction.

When Horton discovers the speck, he is confronted by a law-enforcing kangaroo (Carol Burnett) who is a non-believer. She claims anything she can’t hear or see can’t be real.

As Horton’s determination to protect the speck is challenged by banana-shooting military monkeys, a bone-crushing vulture and an angry animal mob, the mayor of Whoville experiences similar mockery in his parallel world.

Isla Fisher in “Horton Hears a Who!”.
Photo credit: IMDb

The film jumps back and forth from the jungle of Nool to Whoville and creates an effective juxtaposition of the different animated cultures.

For instance, in Whoville everything always goes according to plan until their tiny world sets afloat and everything goes awry (with tremors, global warming and backward mishaps aplenty).

Meanwhile, the jungle of Nool starts off as a playful society and transitions into a fearful and angry place.

As the mad animal mob in Nool is about to destroy the speck of Whoville, the mayor of Whoville is able to bring his people together to make enough noise to be heard and save their tiny world.

Carrey and Carell are the star voices of the film and their bubbly wit and humor are perfect matches for their characters. While Carrey at times borders on hyper, writers Cinco Paul and Ken Daurio translate his active energy into entertaining dialogue for the little guys.

Even though roles by Will Arnett, Seth Rogen and Jonah Hills are small, they are uniquely their own and add wonderful color to the film as a whole. Trendy jokes and references about MySpace, cell phones, condos and “I love the smell of bananas in the morning” are sprinkled throughout the film. Though they might go over the heads of kids, they’re not too over the top for adults.

Jonah Hill in “Horton Hears a Who!”.
Photo credit: IMDb

Big life lessons and philosophies are everywhere in this film. They give the movie a moral undertone that so many other children’s movies lack.

The excellent animation and even a sprinkling of japanimation can be credited to the creative directing of Jimmy Hayward and Steve Martino.

They managed to not only keep consistency with Seuss’ original illustrations but also created new characters who meshed perfectly with the signature style.

While the crisp CG animations are enough to move this film into the cartoon greats category, also the all-star cast, hilarious wit and virtuous messages have instantly made “Horton Hears a Who!” into a children’s classic.

“Horton Hears a Who!” opens on March 14, 2008.

Click here for our full “Horton Hears a Who!” image gallery!

By ALLISON PITACCIO
Staff Writer
HollywoodChicago.com
allee@hollywoodchicago.com

Despite Potty Humor, ‘CJ7’ Crosses Into Cliché to Reveal Alien Lassie

HollywoodChicago.com — Wed, 05 Mar 2008 22:13:18 -0700

CHICAGO – Stephen Chow, who directed “Shaolin Soccer” and “Kung Fu Hustle,” brings us his latest eccentricity in the form of the kid-oriented film “CJ7”. Slapstick antics, sarcastic humor and excessively absurd characters are simply a few of Chow’s cinematic trademarks and “CJ7” is no exception to his design.

This sci-fi tale of whimsy takes place in Hong Kong with Ti (played by Stephen Chow) as the single father trying to properly raise his son, Dicky (played by Jiao Xu), on the wages of a construction worker.

“CJ7”.
Photo credit: IMDb

The film begins by exploiting the poverty Dicky and Ti live in by showing Dicky’s worn-out shoes and dirty clothing. Dicky’s desire to assimilate to school fashions and to possess toys like his schoolmates is overwhelming and his father struggles throughout the film to fulfill his son’s needs.

After breaking his son’s heart by not buying him the robot dog “CJ6,” Ti takes a trip to the local dump to search for gifts for the boy. His findings lead to an extraterrestrial toy that he brings home to his pouting son.

When Dicky learns his new toy is really an alien dog, he decides to name him CJ7. The hilarious antics between a boy and his extraterrestrial dog then ensue.

CJ7 helps Dicky’s confidence grow throughout the film and the relationship between the boy and his father create an unexpected and heartwarming touch.

“CJ7”.
Photo credit: IMDb

The plot crosses into the cliché, though, and an alien Lassie comes forth that leaves us with a surprising, Hollywood ending.

The characters bring energy and enthusiasm to the screen with potty humor and exaggerated jesting to remind the viewer that “CJ7” is a movie made for kids.

Xu is arguably the most adorable child actor in cinema and Chow uses his talented cuteness to deploy childish humor and an occasional tear-jerking moment.

Chow’s own character sympathizes with all single parents trying to do what’s best for their child. He makes light of hard times by playing games to kill cockroaches and finding shoes at the junkyard for his son. While “CJ7” brings “awww, he’s so cute” moments to the screen, it also has a rough and tough quality that forces you to smile.

“CJ7”.
Photo credit: IMDb

Chow’s exaggerated martial arts don’t overpower the film and are used in funny moments between oversized schoolyard bullies and minuscule pipsqueaks.

Fantastic sequences of the boy overcoming his fears weave in and out of the story and hyper movements, playful sounds and exaggerated voices riddle the film with giggles.

The plot of a dog from outer space coming to save a boy and his father is reminiscent of a 1980s kids sci-fi movie and a rather unlikely choice for the eccentric Chow. While cliché and extreme predictability can describe the storyline, this film is fun and happy and absolutely amusing.

Even so, the transition into the kid’s film genre may seem abrupt to the typical Chow fan. Children will find it entertaining and perhaps even the child inside the adult will, too. Whether you are a Chow fan or simply need some playful humor in your life, “CJ7” is a film worth seeing nonetheless.

“CJ7” opens on March 7, 2008.

Click here for our full “CJ7” image gallery!

By ALLISON PITACCIO
Staff Writer
HollywoodChicago.com
allee@hollywoodchicago.com

Oscar-Winning ‘The Counterfeiters’ a Bravely Told Gem From Depths of Nazi Germany

HollywoodChicago.com — Fri, 29 Feb 2008 02:05:09 -0700

CHICAGO – “The Counterfeiters” is a historical gem bravely told from the depths of Nazi Germany. An opening scene of a dismal sea sets the tone of Stefan Ruzowitzky’s historical jewel with a sense of despair that raises curiosity to the physical level.

Based on a true story and scripted from the novel “The Devil’s Workshop” by Adolf Burger, the film exposes the untold tale of Salomon “Sally” Sorowitsch and a group of concentration camp inmates as they struggle with the principles of survival.

“The Counterfeiters”.
Photo credit: IMDb

The film begins in Monte Carlo with Sally – played by Karl Markovics – experiencing the royalties of high-stakes gambling. After a night of glitz and glamour, he goes to bed with a beautiful woman who quickly discovers his concentration camp tattoo. This propels the audience into Sally’s darkest memories.

In 1936, he is arrested for being “the world’s greatest counterfeiter” and sent to prison. Sally eventually ends up in the camps as a Jew.

His artistic abilities gain him the position of drawing portraits and painting murals for the Nazi’s at Mauthausen. They later get him transferred to Sachsenhausen where he is ordered to oversee the largest counterfeiting operation in history (“Operation Bernhard”) or face certain death.

Details such as blood used as rouge, striped hairstyles, second-hand clothing from gas chamber victims and intricate counterfeiting supplies are but a few of the threads Ruzowitzky uses to weave together imagery in this film. A sharp, violin-filled soundtrack reminds the viewer that all senses can be harsh while bringing in a folktale quality that’s passed down from holocaust survivors to their grandchildren.

“The Counterfeiters”.
Photo credit: IMDb

After Operation Bernhard is formed, a team of bankers, printers, photographers and graphic artists have been assembled and special treatments are granted. The first assignment given to them is to forge the British pound.

After successfully copying the pound, some of them begin to realize that the Germans are trying to surge the markets of the allies in hopes of winning the war.

One of the printers – Adolf Burger (played by August Diehl) – begins to sabotage the efforts of duplicating the dollar by melting the gelatin to the wrong consistency. Tension builds as the Nazi officers realize this sabotage and lives are threatened. The team is able to hold out long enough until the Nazis are bankrupt and the war has ended.

A handheld camera and lots of perspective shots create a gritty realistic and effect. However, the occasional extreme zoom seems to confuse the pragmatism into an over-dramatized Oliver Stone quality. Apart from the in-your-face zooms, creative camera angles like low angles looking up at a Nazi officer urinating on Sally’s head and close-ups detailing bloody fingers gripping a pencil pop in and out of the film with perfection.

“The Counterfeiters”.
Photo credit: IMDb

Sally’s austere character holds the weight of this film and is effortlessly played. He conquers the role and makes one wonder if his job prior to acting actually was counterfeiting.

Supporting characters are upheld with equal theatrical abilities. All the performances blur the concept of acting all together and make it one of those “pinch me – I’m watching a movie” films.

Curt wit and intermittent humor allow dialogue to be one of the strongest features of this drama and each actor delivers lines with a truth rarely seen in cinema.

Ruzowitzky closes the film by bringing us full circle to Monte Carlo and shows a less-glamorous view of Sally. As Sally purposely gambles away counterfeit money from the camp, he leaves the viewer with a sense of dark hope. The closing scene is of Sally and the beautiful woman dancing on the beach. She shares her sympathies for all his gambled money and he simply reassures her that they can make more.

This incredible story needed to be told and Ruzowitzky has done a wonderful job adding another amazing film to the growing list of German cinema.

“The Counterfeiters” opened on Feb. 29, 2008 in limited U.S. theaters.
In Chicago, the film is playing at the Music Box Theatre, Landmark’s Renaissance in Highland Park, Ill. and CineArts in Evanston, Ill.

Click here for our full “The Counterfeiters” image gallery!

By ALLISON PITACCIO
Staff Writer
HollywoodChicago.com
allee@hollywoodchicago.com

Gondry’s Cinematic Breakthrough ‘Be Kind Rewind’ Proves Again He’s an Artistic Goliath

HollywoodChicago.com — Fri, 22 Feb 2008 02:05:03 -0700

CHICAGO – Michel Gondry’s latest cinematic breakthrough “Be Kind Rewind” grants passage into his magical imagination and proves yet again he’s one of today’s artistic giants.

Whimsicality, childlike humor and unforgettable imagery line the palette of this film, which is a heartfelt yet hilarious tale of two friends saving a VHS rental shop (itself named Be Kind Rewind) from technology by instigating a passion for film in their neighborhood.

Jack Black in “Be Kind Rewind”.
Photo credit: IMDb

Set in tired Passaic, N.J., the shop is located in a building that’s rumored to be the birthplace of jazz icon Fats Waller. It’s owned by Mr. Fletcher (Danny Glover), who is faced with the inevitable gentrification of condominiums and DVD rental stores.

Trying to earn his praise, Mike (Mos Def) works and lives at the shop and respects Mr. Fletcher as a father. Mike is visited daily if not hourly by mechanic pal Jerry (Jack Black), who lives in a trailer on the junkyard next to the power plant across the street.

When Mr. Fletcher goes out of town, he asks Miss Falewicz (Mia Farrow) to check on Mike, whom he has left in charge of the store with strict orders to “keep Jerry out”. That’s when Gondry’s wild imagination ignites and the mischievous eccentricities begin.

Things go amiss when Jerry’s quirky paranoia feeds the idea that the government is controlling (“paranizing”) his brain through the power plant. When wearing foil and metal colanders on his head are no longer enough protection, he decides to sabotage the plant and ends up magnetized by an enormous surge of power.

Next, Jerry accidentally demagnetizes all the tapes and causes the duo to have to shoot “Ghostbusters” in four hours, which is earlier requested for rental by the scrutinizing Miss Falewicz. “Ghostbusters” is just the beginning of the hysterical filmmaking, which is followed by “Rush Hour 2,” “Driving Miss Daisy,” “Carrie,” “Robocop” and many more.

Jack Black (left) and Mos Def in “Be Kind Rewind”.
Photo credit: IMDb

Their technique of “Sweding” films becomes immensely popular in the neighborhood and their inflated rental pricing gives them hope of saving Mr. Fletcher’s shop.

By bringing the neighborhood together through their imaginative filmmaking techniques, they create a film about legendary native Fats Waller to make a final attempt at saving Be Kind Rewind and wrap our hearts around the story in the process.

Gondry harnesses Black’s often-unruly screen energy and creates a feeling of playful yet controlled improvisation between the two main stars. Black brings his usual display of lyrical antics to Jerry and carries the majority of laughs throughout the film.

His outlandish idiosyncrasies mesh with the even-more-improbable storyline and Mike compliments Jerry through his levelheaded and patient tendencies. Performances by Mia Farrow, Danny Glover and Sigourney Weaver bring balance to the overly energetic filmmakers and frame the story with a traditional start-to-finish plotline.

Jack Black (left) and Melonie Diaz in “Be Kind Rewind”.
Photo credit: IMDb

This makes it much more commercial than Gondry’s “Eternal Sunshine of the Spotless Mind” and “The Science of Sleep”. Creative props dress every scene of the Sweded films and childhood flashbacks of playing dress-up and acting out skits of your favorite movies are nearly impossible to evade.

Instead of animating inanimate objects (“The Science of Sleep”) or looking through the eyes of a toddler (“Eternal Sunshine of the Spotless Mind”), Gondry – a master of projecting the inner child – chooses this time to animate his characters through youthful and inventive creativity.

This Gondrian feature makes for a very colorful visual and emotional experience. A passion and appreciation of movies and moviemaking give this film a thematic backbone reminiscent of Federico Fellini’s “8½”and Giuseppe Tornatore’s “Nuovo Cinema Paradiso”. Its animated set design and comedic stars, however, allow it to have a more fantastical quality.

While the hilarious film references and guerilla filmmaking tactics are impressive to movie buffs, they could easily be lost to the tenderfoot. Gondry’s unique style can be an acquired taste to some, but for those who have cultivated their imaginations since childhood, this is an ingenious must see.

“Be Kind Rewind” opened on Feb. 22, 2008.

Click here for our full “Be Kind Rewind” image gallery!

By ALLISON PITACCIO
Staff Writer
HollywoodChicago.com
allee@hollywoodchicago.com

Diane Lane’s ‘Untraceable’ Plagued With Predictable, Connect-the-Dots Plotline

HollywoodChicago.com — Thu, 24 Jan 2008 23:01:13 -0700

CHICAGO – Gregory Hoblit’s “Untraceable” is a predictable thriller that takes us into the masterminds of cybercrime in Portland. Diane Lane plays FBI agent Jennifer Marsh and heads up a cybercrime department that’s chasing an Internet killer.

Diane Lane in “Untraceable”.
Photo credit: IMDb

The contradictive story leads us into the path of the serial killer – played by Joseph Cross – who seeks revenge on an apathetic society focused on Internet violence.

The character grotesquely tortures and kills victims online at his KillWithMe.com site.

He sets up extravagant torture devices so victims endure more pain with each and every additional Web site visitor. The process continually expedites them to their death.

As the killer creates original torture techniques using excessive Heparin, heat lamps and battery acid, the FBI collects clues that make the predictability of the film nearly tangible.

Josh Brolin and Diane Lane for “Untraceable”
on Jan. 22, 2008.
Photo credit: WireImage.com

Aside from a connect-the-dots plotline, the script is tech savvy and rather smart for the average suspense genre film. It explains advanced coding techniques and FireWire details. However, the film is lacking in suspenseful energy and trots along from beginning to end in a mundane fashion.

Lane’s performance holds the distinctive strength that she brings to the silver screen and makes one wonder why we don’t see more of her in bolder roles. Characters by Colin Hanks and Billy Burkes also hold their own and let the acting in this film become its strongest quality.

The ethics of Internet violence and apathy are undertones throughout the story and the question of why our society has become numb to such evil and cruelty is a nice offering to bring to the table of serial killer films.

While the conviction seems justified for a moment, the amount of violence the killer displays completely contradicts the lesson. His anger toward Internet cruelty seems to only perpetuate brutality and makes absolutely no sense.

While certain aspects are comparable to great suspense films like “Seven” and “The Vanishing,” the underlying ethical lessons in the film pluck the thrill out of the thriller. What’s left is a preachy and predictable paradox that still holds entertainment value but is ultimately best waiting for on DVD.

“Untraceable” opened on Jan. 25, 2008.

Click here for our full “Untraceable” image gallery!

By ALLISON PITACCIO
Staff Writer
HollywoodChicago.com
allee@hollywoodchicago.com

History-Making ‘U2 3D’ Feature-Length Film Redefines Concert Experience

HollywoodChicago.com — Tue, 22 Jan 2008 14:33:21 -0700

CHICAGO – Shot with more digital 3D cameras than any other film project, the feature-length “U2 3D” film production revolutionizes the concert experience on the big screen.

Directors Catherine Owens and Mark Pellington bring together incredible cinematography and surround sound to create this intimate musical experience in a 360-degree landscape. Even more, “U2 3D” etches itself into history as the first-ever, live-action, three-dimensional concert film.

“U2 3D”.
Photo credit: 3ality Digital

The U2 “Vertigo” tour was filmed throughout seven shows in Argentina in one of the largest stadiums in South America. The most amazing feature of this film is the contagious energy it releases.

The 3D effects layer themselves on top of one another to make you feel as if you are a part of the audience and waving your hands along with everyone else.

Close-up shots of Bono and the rest of the band create a personal experience with U2 and puts you right on stage with them. Thousands of arms raise up along side you – gyrating in all directions – so you can truly escape the fact that you’re sporting dorky glasses in a dark theater.

“U2 3D”.
Photo credit: 3ality Digital

The amazing light shows, pulsating audience and surround sound swallow your senses in a completely innovative experience.

Nice touches of animation overlap the expected political sequences and the concert experiences are surprisingly left uninterrupted. They’re never broken up with backstage interviews or irrelevant footage of Africa.

If you don’t feel like paying outrageous Ticketmaster fees for a concert or would simply rather avoid hysterically sweaty crowds, watching this film will transport you directly into the arms of the beast and keep you entertained for a solid 84 minutes.

Even if U2 isn’t your favorite band (as is the case with yours truly), this groundbreaking digital 3D film will stimulate your senses and have you reaching for your lighter (or cell phone) to express your enthusiasm. One can only hope that all of our favorite musicians will follow U2’s revolution in toe.

“U2 3D” will open in Chicago on Jan. 23 at the Navy Pier IMAX theater.

Click here for our full “U2 3D” image gallery!

By ALLISON PITACCIO
Staff Writer
HollywoodChicago.com
allee@hollywoodchicago.com