Played by the sublimely sexual Ludivine Sagnier, Julie is all that Sarah is not. She’s young and beautiful, messy and vivacious. Julie sleeps around, with no moralistic attitude about the acts she performs. Naturally enough, Sarah is at once horrified and inspired by this new guest. Julie is completely comfortable in who she is and makes no attempt to hide her all encompassing desires. Because of this, Sarah soon takes to studying Julie more closely, and it’s about this time that things take a slightly more sinister turn. Sarah begins to live vivaciously through Julie, spying on her, watching her and trying to figure out what she’s about.

Rampling is great at playing a staunch woman who’s more liable to write about dirty things then actually do them. And thanks to Sagnier, Swimming Pool has a deep seeded eroticism that really manages to put the audience on edge. You just know that she is the distillation of the bad girl, the femme fatale, and that this distinction has only one possible result. Femme fatales after all, are called that for a reason. And like all great ones, we really like Julie and her free-wheeling ways, but there’s always that nagging feeling that you want to see her punished.

Swimming Pool doesn’t have a distinctly delineated plot, but instead focuses on the emotions that are distilled into each of these characters. Coupled with many a David Lynch element (a little person makes an appearance, and there’s a lot in here that reminded me of Mulholland Drive, hint hint.), Swimming Pool has a conflicting ending that will stump you unless you think things out. But really, it doesn’t need a resolution. It’s just not that kind of movie. What matters is that Sarah has been changed by the experience – by letting her imagination take hold and letting Julie provide a dripping foothold into her mind.

Movie Grade: A-

Year: 2003
Written and Directed by: François Ozon
Starring: Charlotte Rampling, Ludivine Sagnier, Charles Dance
Details: 102 mins / Focus Features / Rated R

And then there’s her sister Lily, probably the most seriously disturbed little girl this side of the Exorcist. She says creepy things that instantly make you question her sanity. Naturally, a girl who goes on hunger strikes and cuts herself, would be bound to cause some stress in anyone’s life. Again, the power of this character is her complete plausibility. We don’t see any crazy yelling when Meg discovers what her sister is doing to herself, nor do we get any long, drawn out Lifetime-style interventions. It’s like real life – where things are forgotten and ignored until they bubble to the surface.

In all this madness around her, Meg turns to her English teacher, Mr. Auster. At first glance (and actually through most of the film), Auster appears to be the kind of teacher that, well, inspires movies and awards. He sees in Meg, a sensitivity and real talent for crafting words into something much more important. And he teaches her with the kind of individual attention that only a fellow writer can. After all, like all of us, he’s working on his novel – which he freely reads from in order to “inspire” her. He urges Meg to enter a poetry contest, which she manages to win while experiencing even further hardship at home, struggling to survive from day to day. And on top of it all, Meg’s relationship with Mr. Auster is getting uncomfortably close.

The writing and their relationship all cumulate during one weekend in Florida, where Meg is entering a national contest and Mr. Auster is judging . Naturally, in a very disturbing way, their lives collide. The uncomfortable relationship is played out perfectly by the two actors. A young and rather inexperienced actress, Bruckner is perfect for the role of a conflicted high school student. She has rawness to her acting, balanced with an inner vulnerability that would make her the ideal intriguing student for Strathairn’s Mr. Auster. Straithairn really does a good job of presenting us with a man who can certainly talk the talk of the sage and important teacher, but he really can’t back it up with any action. You can tell his true motivations the instant he casts his eyes upon her, that he has some kind of ulterior motive, but like Meg, you really don’t want to believe it because he’s such a nice guy.

Blue Car has dark twists and turns that not only prove to be close to life, but make for an enjoyable and surprising movie. Well worth the viewer’s discovery.

Movie Grade: A-

Video: 3 out of 5
It’s rather low budget so there’s a bit of grain, but otherwise it serves the movie.
Widescreen anamorphic – 1.85:1

Audio: 3 out of 5
Dialogue heavy and that’s all you need to know.
English (Dolby Digital 2.0 Surround), French (2.0)

Extras: 3 out of 5
There’s not a lot of extras, but what’s there is good. The commentary by Montcreiff is on the technical side, but being a nerd, that’s what I like. The strongest extras however, are the deleted scenes, which really flesh out the movie and what the filmmaker originally invisioned for the film.

Overall: 4 out of 5
Blue Car would be a fine addition to and indie lover’s collection. It’s a film that expresses the heartache of growing up and the pain of being betrayed by those you trust.

Year: 2003
Written and Directed by: Karen Moncrieff
Starring: Agnes Bruckner and David Strathairn
Details: 96 mins / Miramax / Rated R

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As played by Ossie Davis, this JFK is regal and staid, but he’s also something of an ass kicker. There’s no way that some dead dusty guy covered in bandages is going to take over the home. So JFK and Elvis team up to prevent just that from happening.

Sure, it’s a bit thin for a plot of a movie – at least it appears that way – but there’s a large chunk missing from the description. Because in a very real way, Bubba Ho-tep is about growing old, being forgotten, and being discarded like human refuse. The strange thing about the film is that it’s not just another instant cult film. The film has an emotional resonance that goes beyond silly action-horror. Although you won’t exactly cry during Bubba Ho-Tep, you’ll feel a connection with an old, fat, Elvis punching a mummy, and you’ll understand the anger and excitement in growing old.

Bruce is really great and gives a more nuanced performance (despite the fact that he’s playing a huge, Elvis with giant be-dazzled aviator glasses.) His longing for his life left behind is actually tangible, and it definitely leaves you to wonder if maybe this is indeed the way that Elvis is living now, because he was tired of his life and tired of his life of luxury.

But if the movie was all contemplation and reflection, I don’t suspect that I’d be too interested in such a weird thing. Because at it’s heart, it’s a movie about kicking mummy ass. The two men triumph over their own infirmities in order to conquer evil. There’s not much more joyful than that.

Movie Grade: A-

Video: 4 out of 5
It’s nice, but purposefully grainy. The colors run from deep browns to bright yellows, with little play in between. A very monochromatic looking film.
Widescreen Anamorphic – 1.85:1

Audio: 5 out of 5
A great grade, especially considering the indie roots. The surrounds get plenty of workout, with no scarab beetle scurry left unheard.
English (Dolby 5.1)

Extras: 4 out of 5
The commentaries: the track with Bruce and director Don Coscarelli is not to be missed. They cover all the bases of making an independent film, and in that way is a perfect companion to the Evil Dead commentaries. The “Bruce as Elvis” track isn’t great, but I guess it’d be hard to Vamp as Elvis for an hour and a half. The Making of Bubba Ho-tep is 25 minutes of pretty good behind the scenes, and gives some great information about the genesis of the project. Next are three featurettes which run about 20 minutes total, and cover the mummy creation, Elvis costumes and the music in the film. One of my favorite extras has the writer of the short story (Joe Lansdale) reading his very graphic (and funny) first section of Elvis vs. The Mummy. I’ll never look at Elvis’s twig and berries the same way. Finally, there are a few scattered and short deleted scenes, and some galleries.

Overall: 4 out 5
Bubba Ho-tep is the perfect combination of a film with some great work by Bruce and Ossie, and culty-action-horror. Recommended for all die-hard horror fans, and those who love to see Campbell camp it up.

One of the most interesting sections in that book is about the death of producer Tom Ince aboard a private yacht owned by none other than the newspaper behemoth William Randolph Hearst. Anger’s book never goes deeply into the rumors that flew around that faithful trip (none of the stories are really in depth) but the author does make some fascinating suggestions. It’s universally known that Hearst kept actress Marion Davies as his mistress for many years. But Hollywood Babylon also suggests an even darker side to the story. Davies was known for philandering of her own, most notably with Charlie Chaplin (who himself had numerous trysts with various ladies). Hearst was also a notoriously paranoid control freak – building peepholes, secret doors and listening systems into his home and yacht.

It’s within this deep, historical complexity that The Cat’s Meow takes place.  History knows that Tom Ince went on a cruise for his birthday celebration and came back dead, but not much else. What happened that weekend on the yacht? I think this movie holds the best answers.

Kirsten Dunst is perfect for the role of Davies. She has an look that’s definitely in line with the kind of beauty celebrated in 1920’s Hollywood. Hers is the standout performance in the film and she definitely deserves her starring title in this movie – it’s almost enough to make you forget her rather uninspiring turn in Spider-Man. The rest of the cast is comprised of veteran character actors and unusual casting choices. Comic Eddie Izzard is cast as Chaplin, not imitating the Little Tramp character, but rather finding the human side of this very important actor. As a confused report, Jennifer Tilly is great, her high voice actually working to her advantage. Finally, veteran character actor Edward Herrmann, manages to inhabit the very manic Hearst. You plain believe that he is Hearst.

The Cat’s Meow isn’t a big film by any means. It takes place on a small boat with an eclectic cast of characters. Director Peter Bogdanovich’s approach is wonderfully separated from the action. He lets scenes play out in long single takes. An actor stumbling over a line is nothing for him to worry about. This gives the movie a feeling of looseness that really makes it a laid back experience. A perfect movie for a lazy afternoon in Hollywood.

Movie Grade: A

Video: 3 out of 5
Another low-budget indie that nonetheless gets the job done. The color of the palette of the film is rather muted, and this is no exception.
Widescreen anamorphic 1.78:1

Audio: 3 out of 5
All that matters here is the dialogue and that certainly comes trough bright and clear. Music in the film is all from practical sources (radios, records and singing) so don’t expect too much clarity or expect the soundtrack to blow you away.
English (Dolby 2.0)

Extras: 5 out of 5
Nice, nice, nice. Here’s a rundown of what you’re getting yourself into:
Sundance’s Anatomy of a Scene: Indeedy. Like I said before, this is a welcome edition on any disc. It runs thirty minutes long and discusses a particular scene in the film, considering all elements of writing, acting and directing.

Making of: About thirty minutes of new on-set footage including rehearsals and impromptu interviews. A nice complement to the Anatomy of a Scene.

Interviews: Fifteen minutes of talking heads.

Chaplin Short: A twenty minute silent Chaplin film with musical accompaniment. It’s a nice thing to watch to get a sense of the man that Izzard was portraying in the movie.

Newreel: Contemporary (to the 20’s of course) celebrities gallivanting around and silently hamming to the camera.

Bogdanovich commentary: The veteran actor (The Sopranos) / Director (Paper Moon) can come off a little arrogant at times, what with his references to knowing Orson Welles, John Ford, and all. But he’s a man who’s had a lot of experience and he’s still making little movies the way he wants. The commentary is nice and discusses a little of everything concerning the production.

Overall: 4 out of 5
The Cat’s Meow is funny, dramatic and a fascinating look at Old Hollywood’s darker side. Coupled with a wealth of extras that came quite unexpectedly, this is one disc that you should consider picking up if you really love movies.

Year: 2002
Written by: Steven Peros
Directed by: Peter Bogdanovich
Starring: Kirsten Dunst, Edward Herrmann, Eddie Izzard, Cary Elwes and Jennifer Tilly
Details: 110 mins / Lion’s Gate / Rated R
Retail: $24.99 / Street: $22

Like many homeless children throughout the world, they seek to anesthetize themselves against the harshness of their lives by huffing paint in plastic bags. It’s cheap and it completely cuts them off from the world. Sadly, they seek it out above all else, even above food – because it makes them forget that they’re hungry. And despite putting them in a drunken, brain damaged stupor, the children roam the streets, fighting and running, doing whatever they can to get drugs.

Children Underground is a mostly structureless documentary, simply allowing the camera to observer their lives, and the frank madness of their lives. It really is at once frightening and fascinating to watch these children as they live completely unsupervised, mostly ignored by the populace as they go about their daily routine traveling on the subway and eating lunch. It’s obvious that some of the children are more scared than others. Some rise to become natural leaders, while some simply break down. Nearly every child who is forced into this is socially stunted. Like feral children, they yell at people, fight – it’s as though because of the lack of interaction and love in their lives, that much of their humanity has been stripped away from them.

But this isn’t their fault, and not everyone has given up on these children. Social workers do their best to convince the families that taking their children back is probably the best thing for the child’s well being. But it becomes clear that the children returning to the family that abandoned them is often the worst possible solution. In some cases, the parents literally have no way to feed their children, so they believe that it’s better for them to attempt to get food out on the streets. In other cases, the children refuse to return to their parents because they are emotionally and physically abusive.

Children Underground is a documentary that grabs you from the instant that it comes on the screen. I popped this movie in late one night planning on only watching a portion of it, but I was so enthralled, I kept the movie going into the early hours of morning. The film presents no solution to the problem in Romania, nor is it a grand achievement in directing or editing. Where it does succeed is bringing to light a prevalent problem around the world, not just in Romania. It succeeds in shining a light on these children underground.

Movie Grade: A+

Video: 3 out of 5
The film was shot on DV and presented as such. There are no funny post production tricks (except for a few sections which look like they may have been shot in 16mm), and it’s presented as a full frame.
Full Frame – 1.33:1

Audio: 3 out of 5
There’s no music or narration to speak of, so the two channel audio works perfectly here.
Romanian (Dolby 2.0) – Some interviews are in unsubtitled English

Extras: 1 out of 5
The most interesting extra is the “what are they doing now?” text presentation that contains updates on all of the children highlighted in the film. Like the movie itself, it’s mostly sad, but incredibly powerful. There’s also a short text extra on how the director decided to do this film.

Overall: 4 out of 5
Despite its rather thin presentation, Children Underground is a fascinating enough documentary to justify the purchase. It’s a moving and scary look at young people almost completely forgotten by society.

Like his previous documentary Kurt and Courtney (about Cobain’s suicide and Courtney Love’s involvement), Broomfield takes a pretty fairly scattershot approach to the subject matter – interviewing anybody under the sun who’s willing to talk about the case and the people involved. In the matter of the deaths of Tupac Shakur and Christopher Wallace, Broomfield does manage to interview some fairly credible people including Wallace’s mother and the lead detective assigned to the case. Detective Poole, a pudgy cop with a slightly disturbing manner, retired quite publicly as his investigation lead to the involvement of LAPD officers in the deaths of Wallace and Shakur and the cover-up afterwards.

The hypothesized cover-up does coincide with the LAPD Rampart Division Gang unit scandal, in which a number of police officers were indited on corruption and drug smuggling, among other things. Many of the same police officers are named in this movie, so this theory isn’t being pulled out of thin air. Many worked for Suge Knight’s Death Row Records, and some for Tupac. Which brings us to Suge.

The interview with Suge Knight starts on a strange note, but then slowly turns to rants of ‘rats’ and punks on the street who are snitches. He’s not stupid enough to indict himself by any means, but you come to realize that the literally large character looming over the horizon in Biggie and Tupac is absolutely capable of such acts that are alluded to in the movie.

Broomfield is pretty clear about who he believes was involved in both deaths, and he lets the facts speak for themselves. With all the theories, Biggie and Tupac is fairly muddled – but after a few repeated viewings, you start to sense the thrust of the idea. You get it. You understand why they were murdered and who had the most to gain. I won’t ruin it by divulging any more information about the general idea, but it’s quite clear – there’s a lot of people hiding a lot of information.

Movie Grade: B

Video: 3 out of 5
It’s shot handheld on 16 mm with an often dirty gate so don’t expect much. It is what it is.
Anamorphic Widescreen 1.85:1

Audio: 3 out of 5
Who cares? It’s a documentary. The bass on the hip-hop is nice for a 2.0 presentation.
English (Dolby 2.0)

Extras: 3 out of 5
The best extra is the commentary by Broomfield, which unlike his movie, he actually seems to be prepared for. He talks about the difficulties shooting certain scenes and gives us even more background on the history of the film. The other notable extra is about 45 minutes of deleted scenes that don’t add anything to film but do have some nice audio introductions by Broomfield. There’s also 13 minute interview with Broomfield, at which point I realized I had enough of him. There’s a bunch of static extras including a discography for Biggie and Tupac and some more background info about the shootings.

Overall: 3 out of 5
For fans of Nick Broomfield’s and Michael Moore’s confrontational documentary style, this is another feather in the cap. It provides an insightful look at a music genre so swamped with macho posturing that it resulted in the deaths of two talented musicians.

Year: 2002
Directed by: Nick Broomfield
Featuring: Christopher Wallace, Tupac Shakur and Suge Knight
Details: 107 mins / Lions Gate / Rated R

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There’s really not much more to the film – Bad Boys II has one of the most incomprehensible plots in recent memory. I have no idea who did what to whom, why and I don’t even know when. It’s that confusing. Chew on this: all of a sudden, like all these Haitians jump out of a car transport and start shooting. A chase ensues, the Haitian dudes die and we never hear from then again. It’s obvious that what thin plot exists serves only to support the action sequences that make up most of the movie. And certainly, that has some appeal – to see car chases and gunfights in a never-ending stream of visual idiocy. Bad Boys II is successful on that level. There are plenty of shootouts, car chases and beat downs.

But the real problem with Bad Boys II is how ugly and mean spirited it is. Bodies on a morgue truck get needlessly decapitated, Lawrence ogles the breasts of a dead woman, seemingly hundreds are shot and killed, heads explode. It’s not that I have anything against these elements in context, but they don’t fit within the movie. For sure, you suppress a certain amount of disbelief when you see this film, but you’d never suspect that it’d be more akin to a horror movie than an action movie. Bad Boys II does not offend me, but I can safely say that it’s the very definition of gratuitous.

It gets worse. In Cuba, Mike and Marcus conduct a car chase down a hill covered with shanties and shacks, destroying an entire village in one fell swoop. Of course, Michael Bay must have realized what a terrible story choice it was to have the heroes of the film destroy the homes of the poor, so he places an off-camera line in which is mumbled, “they’re making drugs.” Sure thing Mike. Good save. This is only trumped by another off-camera line following a shootout and car chase in which dozens, if not hundreds, of cops were killed or maimed: “At least no cops were hurt.”

In some of the extras for the film, Bay explains how he tries to amp up the action for every subsequent film. My only suggestion was to go all out and show little kids and the elderly getting shot in the face, along with all the other gratuitous things we see. Why not, Michael? You’ve come so far already.

Movie Grade: D

Video: 4 out of 5
It’s a great presentation, but my only complaint is a little bit of desaturation. I’m not sure how much of that is intentional to give it a washed out look, but it’s a little distracting.
Widescreen Anamorphic – 2.40:1

Audio: 4 out of 5
Yeah, it rocks. Michael Bay movies are big looking and loud.
English (Dolby Digital 5.1), French (Dolby Digital 5.1)

Extras: 4 out of 5
Shit. The extras are pretty good. Nothing on the first disc to speak of, but the second is pretty packed, if not a little poorly presented. The haul:

- 6 crap, unfunny deleted scenes
- 2 featurettes running a total of 1/2 hour on stunts and visual effects. Some cool stuff.
- Sequence Breakdowns takes 6 scenes and gives you storyboards and previz, on-set video, and the script. The best part of each section is probably the on-set video, which runs anywhere from two to ten minutes.
- By far the best extra is the combined production diaries. It’s simply video of the goings on of shooting, with no narration. There’s a problem, in that you can’t watch them all at once and you have to pick them individually from the menu. If you were to string them together, it’d be just over an hour.

Overall: 2 out of 5
The crap quality of the movie itself can’t warrant a higher grade, but it’s a great presentation that can show off your system if you’re so inclined. I hope you’re not inclined.

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The beauty of the film, directed with unabashed confidence by Paul Schrader, is the way that the film mixes a number of styles and stocks. The movie is comprised of three distinct styles: the straight forward color and shooting style of his final day, the glorious black and white of his past, and filmed sections of scenes from a selection of his books. It’s these sections where the film reaches new level of artistry. It’s shot with a film stock much different from the section about his final day, giving the literary areas a distinctly 60’s appearance with deep, rich Techinicolor-like look. The sets in these sections are also hyperstylized and colorful, without a single practical location. Mishima is an art film in the way that it uses different styles and moods, yet the movie maintains a cohesion of narrative. For few exceptions, we always know what’s going on, and when we don’t it soon is described in an interesting and surprising way.

But really, the look wouldn’t matter if there wasn’t an exciting and intriguing story to back it up. But Mishima’s life was so intriguing and diverse, that every single facet of it provides some glimpse into his possibly very disturbed psyche. Taken as individual sections, each of these parts (his life, his past, his obsessions) seem to have no interconnection and often seem contradictory. It’s when they’re taken as a whole that you gain an understanding (but perhaps not an apprection) of Yukio Mishima’s life.

Movie Grade: A

Video: 3.5 out of 5
Given the age and preservation techniques of the past, I’m pretty impressed. Some of the “last day” sections have some grain, but the black and white looks about perfect. At the very least, it’s done in a way that you can differentiate instantly between the two color sections.
Widescreen Anamorphic – 1.85:1

Audio: 4 out of 5
There’s really no “dub” on this disc. The movie has all dialogue in Japanese, for the sole exception of a narrator who reads Mishima’s work. The film was released like this. But, for the Japanese market, they substituted the English voice for lead actor Ken Ogata’s. That’s the only difference between the tracks. That said, I do like the stark contrast between the English language and the rest of the Japanese in the film. Like Mishima himself, it’s a bit contradictory.
English (Dolby Digital 2.0), Japanese (Dolby Digital 2.0)

Extras: 2 out of 5
Schrader’s commentary is more recent and proves to be an interesting listen, the man certainly knows his subject. The other extra is about 15 minutes of behind the scenes shot on film, presumably for some promotional use. It’s not too in depth, but interesting nonetheless. Last up is a trailer.

Overall: 5 out of 5
Why Mishima hasn’t garnered more attention over the years is a wonderment to me. It’s an accomplished movie as evidence from its great writing, directing and acting. Well worth a rental.

Year: 1985
Written by: Chieko Schrader and Leonard Schrader
Directed by: Paul Schrader
Starring: Ken Ogata, Masayuki Shionoya and Junkichi Orimoto
Details: 121 mins / American Zoetrope / Rated R

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It’s your typical horror set-up (and very similar to the Evil Dead movies), in which a bunch of college students go to a cabin in the woods after finals, only to be ravaged by a flesh eating virus. As strange as it might seem, every horrific occurrence in Cabin Fever is plausible – the horror comes not from any supernatural occurrence, but the characters’ reaction to the impending doom. Of course, there’s no shortage of crazed hillbilly locals to help scare the be-jeebus out of you as well.

Like any horror movie, it’s derivative of what’s come before it. As I’ve mentioned before, it’s not whether the film is revolutionary of not (although that helps), it’s how well it works either inside or outside of its genre. Cabin Fever has one foot planted in each, I think. It’s just like a late 70’s horror film in one respect, but it also has an odd sense of dark humor that’s rarely seen in modern horror. Oh sure, most horror flicks have their puns and death jokes, but here the humor is more tinged with dread. Since not much scares me, I only wish the film would have explored this humor further. We get Dennis, the be-mulleted biting child who yells, “pancakes” and does karate – unfortunately, that’s the height of its strangeness.

The directing by Eli Roth pays explicit homage to many films that come before it, so Cabin Fever is a film that will tickle the nerd in you, when you recognize shots and references. On this level, I really enjoyed it. Roth is obviously a guy with a love for cinema, and enjoys creating it. The cast too seems like a fun loving bunch, ready to do many silly and disgusting things in the name of horror. In particular Cerina “they’re real and they’re spectacular” Vincent actually extends her acting chops, showing that she can bring some pain, as well as some amazingly good looks. Rider Strong gets to play against his Boy Meets World image, and James DeBello, perennial stoner supporting actor, gets to kick some ass.

If you even like horror a little bit, you’ll probably enjoy Cabin Fever. The plot is simple, the horror is grotesque and there are plenty of naked boobies. But perhaps it’s the film nerds that will enjoy it the most – finding the references, enjoying the 70’s haircuts and spotting stolen shots. Like Peter Jackson, maybe you have to really enjoy all horror to fully enjoy this one.

Movie Grade: B

Video: 4 out of 5
A really beautiful transfer. The film is shot in an extra wide scope that we usually don’t get to see in modern horror. It’s also purposefully golden and brown, to give it the feeling of Texas Chainsaw and similarly shot films.
Widescreen Anamorphic – 2.40:1

Audio: 4 out of 5
It’s a fairly aggressive track with plenty of loud musical scares and disgusting squirts and pops.
English (Dolby 5.1)

Extras: 5 out of 5
There’s actually not that many extras, but what’s there is perfect for a movie geek. A couple of the extras are more gimmicky than anything, but it’s a good bunch of stuff. First is the “Chick Vision” extra, which places big hands (on the subtitle track) across the screen when a scary scene is on. I don’t know who would actually use this, but I guess if you have an extra-frail girlfriend, it actually might come in handy. Next is the “Family Version” of the film – I don’t have to tell you how long that is. And for you film dorks in there, in his introduction director Eli Roth actually makes visual reference to something that Bruce Campbell does in his book signings. Yes, he’s that kind of film nerd.

There are 3 claymation shorts (a total of 12 minutes) of something that Roth worked on called “The Rotten Fruit”. It takes fruit, casts them in a punk / rock band, makes them British and follows the wackiness. Quite funny. Also included is a short section called “Pancakes”. I’ll let you discover this for yourself. To round out the video extras, there’s a half-hour behind the scenes that is nearly clip-less. It’s all good stuff, but they easily could have doubled the length of the extra if they would have focused more on the makeup effects.

Finally, there are no less than five commentaries on this disc. I’m a sucker for a good one, and Eli Roth’s director’s commentary ranks among the best I’ve heard. It doesn’t hurt that he touches on things that are close to my heart, such as the “Fake Shemp” and the genius of Texas Chainsaw. It could be heard in concert with Robert Rodriguez’s ultra-informative Mariachi commentaries for a mini-film school. The two take vastly different approaches, so it’s a good listen. There are also commentaries with the guys in the film, the girls, the producers and a Rider Strong solo track. Eli Roth moderates three of the commentaries, asking really great questions. Luckily, no one in the disc really holds back about their feelings. We hear why Jordan Ladd wouldn’t get naked, what it felt like to have her “woman time” while getting makeup, and other down and dirty subjects. He asks exactly the sort of questions that most of the (admittedly male) viewers want to know.

Overall: 4 out of 5
It’s a fun, sexy, bloody movie with plenty of laughs and a film dork as a director. What could be better?

Year: 2003
Written by: Randy Pearlstein and Eli Roth
Directed by:  Eli Roth
Starring: Rider Strong, Jordan Ladd, James DeBello and Cerina Vincent
Details: 92 mins / Lion’s Gate / Rated R

In 2000, a street kid named Sandro tried to rob a bus full of people going to work. The intelligence of such a decision is not in question – after all, why rob people taking public transportation in Brazil? They’re not the ones that have either money or power. But perhaps the reason why Sandro took hostages was out of a complete desperation and anger. Through the course of the movie, we learn what street kids, and what Sandro in particular, have gone through in order to survive on the streets. Witness to state sponsored killing of children by the police, the street kids have seen more bloodshed in their short years than most people see in their lifetimes.

Because of near complete police incompetence, media from Brazil was allowed to surround Bus 174 and often got mere feet from the action inside, despite the shooting and ranting of Sandro. Being a police officer in Brazil is something of a last resort, a job nearly anyone can get (because it’s so dangerous), which offers little in the way of training. Only the Brazilian SWAT team have any training of significance. And as soon as they got on the scene, they seemed to handle the situation quite well. But for some reason, they were held back from doing what they needed to do (namely, take Sandro out with a sniper) by their chief for reasons that aren’t entirely clear, but are clearly connected with the president of Brazil.

Unlike Fahrenheit 9/11, Bus 174 doesn’t attempt to create a reason or explanation for the failing of the government to intervene in the hostage situation, and this is the one failing of the movie. We never learn why the shot wasn’t authorized to take down Sandro and prevent the terrible events that followed. Despite all that, Bus 174 is at every turn invigorating and suspenseful, keeping you on the edge of your seat, watching the terrible events unfold. The film even manages to be stylistic, with some of the footage deftly enhanced in slow motion to increase suspense.

There are no winners in Bus 174, no ultimate redemption, no answers. Only suggestions of what went wrong along the way.

Movie Grade: A+

Video: 3 out of 5
Most of the source material is from various news cameras, so it varies from pretty grungy, to pretty good. The interview segments are much clearer and all seem to have been derived from a high-res digital source.
Widescreen Anamorphic – 1.85:1

Audio: 3 out of 5
Typical two channel documentary audio.
Portuguese (Dolby 2.0)

Extras: 3 out of 5
The 1/2 hour making of is refreshingly clear of film clips. Despite being rather stagy (the director is reading off a script), it gives some great background information and is wonderfully composed. The other extra is 40 minutes of extended interviews with various people that are also featured in the movie. It’s nice, (especially the extended interviews with the very sharp sociologist), but it’s not really necessary if you’ve seen the movie.

Overall: 5 out of 5
Bus 174 is a gripping dramatic film that rivals the best of what American documentarians have to offer. With a stylish bent, nail biting suspense and an overriding sadness, Bus 174 is one of the most engaging and dramatic documentaries you’ll ever see.

Directed by: Felipe Lacerda and José Padilha
Featuring: Yvonne Bezerra de Mello, Sandro do Nascimento, Rodrigo Pimentel, and Luiz Eduardo Soares
Details: 150 mins / ThinkFilm, Inc. / Rated R

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