Your Movie Is Meh And You Should Time Out

Your old pal Carl Eusebius has seen a lot of crap, but most of it doesn’t make the cut for this blog. For something to end up here, it has to be bad. Real bad. Like, Lady Gaga’s latest outfit bad. Rob Ford apology bad. Keanu Reeves emoting bad. 95% of the garbage I see just don’t rate.

But there are a few bad movies that are so infamous that they deserve a brief mention, if not a full-on review. (At least, not yet.) So behold: single-sentence capsule reviews of some of the word shit ever put on film.

88 Minutes—A strictly-in-it-for-the-money Al Pacino runs around Vancouver while on the phone with a Ray Liotta fangirl for 88 fucking minutes.

After Last Season—A psycho killer’s ghost doesn’t do much while people blow their lines repeatedly and/or get their heads examined in an MRI machine patently made of papier-mâché.

Air Collision—A passenger airline collides with Air Force One. Hilarity ensues.

Alien vs. Predator—Aliens and Predators run around Vancouver and occasionally kill people and/or each other.

Alien vs. Predator: Requiem—Aliens and Predators run around Vancouver and occasionally kill people and/or each other, only this time it’s filmed so dark you can’t see a goddamned thing.

Alone in the Dark—World-famous Jack Nicholson impersonator Christian Slater stars as a self-proclaimed paranormal investigator who teams up with Tara Reid as the least credible professor this side of Denise Richards and Stephen Dorff as that guy who came this close to having a career to battle hordes of demons that you can’t see unless you look at them. Also, at no point is anyone ever alone in the dark. (Uwe Boll Count: 1)

The Apple—A highly ‘70s musical about the temptation of hippy Adam and Eve by the corrupt pop music industry, man.

Birdemic: Shock and Terror—Still drawings of birds menace people who couldn’t act surprised at their own birthday parties.

Bloodrayne—Michelle Rodriguez and the Terminatrix have a hot lesbian fling and then go on set to shoot scenes for this movie, while a villainous Ben Kingsley goes Full Costner. (Uwe Boll Count: 2)

Body of Evidence—Willem Dafoe defends a stone-faced Anna Nicole Smith Madonna from the charge that she humped an old man to death for his money.

Cool As Ice—Some black people stand in the background behind Eminem Vanilla Ice so we know he’s "down with it" while he steals a 30-year-old high school student away from her 1950s preppie boyfriend. Yep, yep. Word to ya mutha. Drop that zero and get with the hero!

DOA: Dead or Alive—Animated plastic muppet Devon Aoki and a merry band of nobodies battle an unstoppable Eric Roberts until they remember that his powers are entirely due to his magic sunglasses and knock them off his face, ensuring his defeat.

Dragonball: Evolution—A villainous alien named “Piccolo” with hilariously bad make-up battles weaboos.

Flesh Wounds—Stop me if you think that you’ve heard this one before: Hercules leads a team of elite Imperial commandos on a mission to rescue some of our people only to find out they weren’t told the real story just as they realize they’re being picked off one by one by a technologically-advanced hunter who detects them by means of their body heat and and uses an invisibility screen to blend into the jungle--oh, you’ve heard this one.

Gigli—Ben Lopez and Jennifer Affleck are tough-as-nails mobsters who kidnap a sub-Rain Man performance and encounter first the Walken and then Pacino at approximately Devil’s Advocate-level overacting.

The Happening—Mark Wahlberg and that guppy-faced woman are menaced by murderous wind.

House of the Dead—Heavily-armed ravers fight off hordes of zombies and editing mistakes. (Uwe Boll Count:3 )

The Howling 2: Stirba, Werewolf Bitch—Saruman the White and Yor, Hunter From the Future go to Transylvania to stake through the heart dozens of vampires werewolves extras with crepe fur hastily pasted to their bodies while Sybil Danning reveals her ample talents.

In the Name of the King: A Dungeon Siege Tale—A not very Statham-y Jason Statham joins up with Hellboy to defend the titular king, a nearly-catatonic Burt Reynolds(!), from a scenery-chewing Ray Liotta and the king’s treacherous nephew Matthew Lillard(!!), while John Rys-Davis, Leelee Sobieski, and Will Sanderson collect paychecks. (Uwe Boll Count: 4)

Jumper—Androgyn Crywhiner stars as a punk nobody who undeservedly lucks into success himself, trying to elude the completely understandable attempts of Samuel L. Jackson’s bad hairstyle to kill him.

The King of Fighters—Maggie Q and a few other non-Japanese Japanese run around Vancouver after Darth Maul crashes the Chan Centre to steal a magic sword that will allow him to take over the world. Canadians are apathetic about this.

The Last Sentinel—Dragon "The Don" Fancypants McWilson mows down so many dozens of robots/androids/soldiers/whatevers that he almost changes his expression. Starbuck guest-stars as a woman guest-starring in The Last Sentinel.

Legion—Rogue angels lay siege to a gas station to prevent the birth of John Connor of Nazareth.

Rollerball (2002)—When his NHL career doesn’t pan out, extreeeeeme sports enthusiast Flavor of the Month joins Washed-Up-Rapper-Turned-Actor and Mystique to play a slightly beefed-up version of roller derby crossed with the WWE that’s actually less violent and dangerous than the NHL.

The Room—A creepy, indeterminately European man is devastated when his air-headed gold-digging girlfriend cheats on him with—oh hai, Mark.

Street Fighter—Mealy-mouthed Jean-Claude Van Damme gets blown off the screen by a villainous and terribly charismatic Raul Julia.

Street Fighter: The Legend of Chun Li—A young Chinese girl grows up to become the emphatically not Chinese Kristin Kreuk, who runs around her hometown of Vancouver while things happen that absolutely no one gives a shit about.

Zardoz!—A giant floating stone head intones that "The Gun is Good, The Penis is Evil", prompting Sean Connery in a bright red diaper to do righteous battle against immortal hippies.

So, I ask you, my legion of loyal fans, is there any among these that you would see as the next review? Leave your request in the comments. I won’t actually pay any attention, but at least you can feel a sense of accomplishment pretending that I read your comment.

I’m kidding about that, of course. I don’t have any fans.

Snow White and the Huntsman

What is with the accents in this flick?

For reasons known only to themselves, the makers of Snow White and the Huntsman (2012) hired two American actresses to play the heroine and villain and then forced them to use posh English accents because, hey, English accents mean royalty, amirite? Then, for good measure, they hired an Australian guy to play a Scotsman.

Snow White and the Huntsman starts out more or less following the plot of the title folktale. Snow White (Raffey Cassidy) is the young daughter of the king. Her mother's death leaves the king distraught until he meets the Wicked Queen (Charlize Theron), who seduces and then murders him, taking his kingdom for herself. Snow White is locked up in her own castle's tower prison, kept alive by the Queen for...some reason. After ten years or so pass, Snow White turns into Kristen Stewart, which means the Queen is no longer the fairest of them all. So she sends her brother Jaime Lannister Finn (Sam Spruell) to kill her. Because Finn is a moron, Snow White easily escapes, eventually reaching the Dark Forest. This is a place so scary that even Finn isn't dumb enough to blunder into it, so the Queen hires the unnamed Huntsman (Chris Hemsworth), who's been in the Dark Forest yet lived to tell the tale, to go in and get her.

Snow White and the Huntsman is part of the Empire's conservative turn in the 2000s, putting us in the familiar territory of an innocent and very, very hot young girl who defeats the evil career woman using nothing more than the power of her virginity. A lot of people have said that Kristin Stewart is miscast as Snow White, but I disagree. I can't think of a better actress to play a submissive, passive woman to disempower young girls than the star of the Twilight "saga". And honestly, Stewart isn't bad in this film. In fact, she delivers the movie's version of the "we few, we happy few" speech about as well as can be expected considering how bottomlessly terrible it is as written. I mean, when you're watching a movie in which Charlize Theron gives a cringeworthy performance, what chance does Stewart have? Theron doesn't approach anywhere near Nicolas Cage levels of overacting, but she's about on par with John Revolta at his worst. If only Cate Blanchett had been cast as the Wicked Queen. The movie still would've sucked, but at least Blanchett would've told first-time director Rupert Sanders to go to hell when he told her, "Great, that was great. On the next take, though, could you be more cartoonishly evil? Oh, and shout, because yelling your lines is scary." I guess Sanders was more interested in boinking Kristen Stewart than in making sure his actors didn't commit cinematic suicide. I hope the embarrassment on Theron's behalf felt by every poor soul condemned to see this film was worth that piece of tail, Rupert!

This is a movie that desperately wants to be epic but lacks both the script and the sure-handed direction to pull it off. I don't understand why Hollywood would hire a man with essentially no experience to handle a movie made up entirely of spectacle, but I guess that's why I'm not a rich studio executive who dines on caviar and the souls of aspiring starlets. There are too many characters, too many sets, and too many subplots. As for characters, there's the duke who's loyal to the late king and his son, William, who is Snow White's childhood friend and is set up (sorta) as her love interest. His scenes with his father only exist so he can first angst over having abandoned Snow White when she was imprisoned by the Queen and then be heroic when he rides off to rescue her. Okay, that's not fair, they also have a scene that lets us know the screenwriter really enjoyed the argument between Theoden and Gandalf about attacking the enemy army in the open field rather than hiding inside Helm's Deep. These two characters could've been dropped from the film without losing anything. Why do I say too many sets? It's somehow possible in this film to walk from a frozen snowscape to a swamp to a river crossing to a castle on the beach all in the same day. The subplots? The Seven Dwarfs', for one. The dwarfs have to be there, of course, because it's Snow White, but the movie doesn't really have time for them. One of the dwarfs prophesies that Snow White is the Christ (in so many words), one has a crush on Snow White that doesn't go anywhere and is only there to try to get us to care when he dies (we don't), one laments that the dwarfs used to be proud but without the old king they've become drunks who sit around remembering their glory days--none of this amounts to anything. It's just more distraction to fool us into thinking the movie is deeper than it really is.

The film steals from the expected places in its attempt to be epic, like Lord of the Rings and Chronicles of Narnia. (The animals don't talk to Snow White, but she has a hippy Greenpeace "connection" to them, including to a white deer with an impossibly huge set of antlers). What I didn't expect to be pilfered from is HBO's Game of Thrones, based on George R.R. Martin's Song of Ice and Fire series of novels. The director undoubtedly instructed Charlize Theron to ape Lena Headey's performance as Cersei Lannister, which is fitting since the script provides her with a blond twin brother who serves as her warrior-protector and has a creepy incestuous relationship with her. Now this film is way too uptight to show us anything sexual, much less something as taboo as close incest, so this relationship is only hinted at. Still it's definitely there, and Theron's faux-Cersei is enhanced by the art direction, which makes her castle Winterfell on the outside and King's Landing on the inside. It was so blatant that when the Huntsman says he doesn't trust the Queen to hold up her end of their bargain, I almost expected her to say, "A Theron always pays his debts."

Speaking of the Huntsman, I have to admit that I was quite surprised to find Chris Hemsworth effective in the role. Really, he gives the best performance in the movie. Unlike Theron and Stewart, he never misses with his accent (though his is inexplicably Scottish, when no-one else in the film has a Scottish accent), and he has one scene in which he got the only emotion out of me other than amusement (with Theron) and boredom (with everything else). I thought he was rather lacking as Thor in Thor--though he was hardly the worst of that movie's problems--but here he seems believable as a grizzled woodsman, and I assume he ignored director Sanders's demand that he ape Viggo Mortensen's Strider performance, which is a good decision any way you look at it. Hemsworth renders the William character even more superfluous, since there's no way you believe that Snow White would choose a nonentity like him over the Huntsman. Indeed, I wouldn't be surprised if in earlier drafts of the screenplay she does end up with the Huntsman, but I guess some idiot producer said, "No no, Snow White marries the handsome prince", and that was that. You can change the plot so Snow White leads a cavalry charge with sword in hand, but you can't make it so that the pure pretty princess hooks up with a lowly pleb!*

The film ends with, of course, a ludicrous battle sequence, because that's what really makes a film epic these days. Snow White, who as far as we can tell has never held a sword nor worn armour in her life, dons a set of field plate armour and grabs a sword and leads the charge against the Wicked Queen's castle. There isn't even a fig leaf training montage in which she learns in a few lessons what it took actual medieval warriors their entire boyhood to master. One night she declares she will lead the army to victory, and the next day she's armed and suited up despite the fact that two days ago she was sitting in the prison cell in which she'd been in isolation for at least a decade. In perhaps the movie's sole believable moment, she gets her ass handed to her by the Wicked Queen in the final showdown. But the script says she wins, so she does, because, it seems, the Queen just lets herself be stabbed. The Queen has been stabbed before and wasn't even injured, but now she dies, because Snow White is "pure".

Snow White and the Huntsman is god-awful boring, despite Charlize Theron's attempts to liven it up with some Bette Midler-style overacting and likable performances from Bob Hoskins, Nick Frost, and (really) Chris Hemsworth. The film's myriad failings can't be laid at the feet of Kristen Stewart, but neither is she capable of rising above them. This is the worst kind of bad movie: almost decent, and nowhere near entertainingly bad.

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* This despite the fact that it's the Huntsman's kiss that revives comatose Snow White (oops, sorry), so I officially have no idea what they were going for. If you think they might have been trying for a New Moon-esque love triangle between the lady's obviously obvious true love and an even more obvious red herring, then I'm so terribly sorry you saw New Moon.

How to Save Hollywood

It's no secret that the Imperial film industry is sinking. Budgets are higher than ever, fewer tickets are being sold, and the money stream of DVD sales and rentals that has sustained Hollywood's current model is drying up. The Olympics and crazy people with guns are getting the blame, but where does the fault truly lie? The system is in danger of collapsing under its own weight, but fear not, my little droogies! Your old buddy Carl Eusebius is here with a plan to save Hollywood. Follow these simple steps, rich studio executives, and you'll continue to produce a steady stream of godawful films for the undiscriminating masses to eat up like the cinematic pigs they are.

1. Free Wesley Snipes
Okay, I know he didn't pay his taxes, and that's all, like, illegal and stuff. And yes, he defended his non-payment by claiming to be a non-resident alien even though he was born in Florida. But he must be released, and that now! Not because he's a celebrity and therefore the law doesn't apply to him. No, because the man could be making awful sequels in the Blade franchise and painful Woody Harrelson collaborations at this very moment. But no, he's locked up in prison, his prime years of crappy action movie-making being squandered away behind bars. Hollywood, just pay off whatever Mitt Romney shell company owns Snipes's prison and Let My Daywalker Go!

2. More Nicolas Cage Insanity
Overacting is a dying art. These days, bad actors are schooled in the cutting-edge technique of "not acting". Your Hayden Christiansens, your Zooey Deschanels, your Channing Tatums--their method of sucking is to impersonate a department-store mannequin whenever the camera is on them. The Al Pacinos, Faye Dunaways, and Ray Liottas of the world will soon be lost to us, and then whom can the next generation look to for training in the hallowed traditions of rampant scenery-chewing? Let us drink in the euphoria of the Madness of Nic before it's too late! I accidentally watched Ghost Rider: Spirit of Vengeance, and the filmmakers blessed us with but one scene of that patented Nic Cage crazy. And not even one scene of him punching out women while wearing a bear suit. Get this man $10 million and a director with no ability to rein him in! HADDAGEBURN? HADDAGEBURN? HADDEGEBURN, HADDEGEBURN!

3. Ban Peter Jackson
Sure, his movies suck, but not in a fun way. Every film he makes now is seventeen hours long. Who wants to see that? Nobody. The Hobbit has ballooned up to not two but three films. New rule: Peter Jackson is to go back to New Zealand (alternate name: "Australia's Canada") and live off the blood of the young virgins he sacrificed to make people think his Lord of the Rings is any good. All movie cameras everywhere are to be wired with self-destruct devices and proximity fuses to detonate whenever Jackson comes near them. Seriously, even if you like Jackson's Rings--and God help you if you do--please ask yourself if we really need three Hobbit movies.

4. Enough With the Remakes
Wait, I'm not complaining about how Hollywood isn't original anymore. Hollywood was never original. I know better than to ask for an innovative story, a new take on character, or a fresh perspective. All I'm asking, Hollywood, is that when you rip off an old idea, change the name. That's it. How long does it take to put words in a configuration into which no one has put those exact words before? The next time you decide to steal from Philip K. Dick (by which I mean, oh, tomorrow), have the decency to try to hide the lack of creativity behind a slightly different name. Instead of doing a remake of a beloved classic like Fright Night or Conan the Barbarian, just do what you used to do: Steal the story and characters but slap new names on them. No fresh characters, no plot that avoids cliche--just take 5 minutes to change the names. You know, like Avatar. Xerox the exact same movie as Dances with Wolves, but like, the title's different. Creativity! Oh, and don't let Kevin Costner be in it. Because, really, Kevin Costner eats more than Rosie O'Donnell at a Golden Corral.

5. Pander to a Different Demographic
Wait, you thought I was going to say stop pandering to the audience and green-lighting movies based on demographic "research"? Puh-shaw! This list isn't about making movies good. It's about making them entertainingly bad. So instead of pandering to 13-year-old boys and making every movie Transformers, start pandering to 13-year-old girls and make every movie Twilight! Let's have more Blood and Chocolates, more Snow White and the Huntsmans, more Red Riding Hoods. I can't get enough of pale teen-agers staring moon-eyed at each other and occasionally mustering up enough energy to stammer out a half-formed sentence before sinking back into Hot Topic-induced lethargy! Give me half-baked alleged rip-offs of Romeo and Juliet or give me death! But mostly give me the rip-offs.

There you have it, my ideas for how to save Hollywood from a mortal slide into the failure of utter mediocrity. Follow these suggestions and...well, you'll still fail, but your implosion will provide some damn fine entertainment! Forget the whimper and go out with a bang! What do you say?

Everybody Loves Lists!

Due to my recent relocation, I've been unable to finish this week's Twilight update. So, in the meantime, I thought, well, everybody loves lists! They're meaningless and people always think they're wrong, but we keep making them anyway. They generate discussion, at least, and if there's one thing this blog needs, it's decent writing and something insightful to say. Sorry, that's two things. Well, amongst the things this blog needs is discussion, so I'm putting forward a number of my own personal top five lists. You'll note that, with the rare exception, all choices are mainstream with (allegedly) A-list talent. The obvious reason for this is it's hard to get discussion going when I'm tossing out people and films no-one's heard of. The less obvious reason is that, especially for the "worst of" lists, it's no fun beating up on small fry with no money and lots of heart. I mean, if I didn't have this rule, the Five Worst Movies could be any random sample of Uwe Boll films. I thought it would be more interesting to take the piss out of films with millions of dollars made by people from whom, rightly or wrongly, we expect better. So here goes:

Best Movies of All Time, Ever, Objectively True and Correct:
5. Blade Runner--Possibly the most visually influential film of all time. (Yes, I've seen Citizen Kane.) Also has the dubious honor of popularizing the "director's cut".
4. The Road Warrior--The template for seemingly every post-apocalyptic genre film of the last 40 years. Only The Road Warrior's apocalypse looks more likely with each passing decade.
3. Dr. Strangelove, Or, How I Learn to Stop Worrying and Love the Bomb--For years, I heard this was the greatest satire of all time. It is.
2. The Godfather--The Mafia never looked so cool. Brando gives the greatest performance of his career, and his isn't even the strongest in the film.
1. Memento--Great acting, great mystery, and a twist ending that's both shocking and unexpected and completely believable and in keeping with the rest of the film. Seen it eight times, and every time I caught new nuance. Even the Gap-Toothed Woman of CSI fame can't ruin this movie.

The Worst Movies of All Time:
5. Wanted--An adolescent male fantasy for sociopaths. Forces Morgan Freeman to share the screen with Angelina Jolie's lips.
4. Princess Aurora--If your child is murdered as a result of your neglect, you're perfectly justified in killing everyone the child encountered that day to assuage your own guilt.
3. The Constant Gardener--A morality play about how if your politics are right, you can't do anything immoral.
2. Goodfellas--Robert De Niro and Joe Pesci playing gangsters? You don't say! I wanted the main character to die throughout the film. He never does.
1. Southland Tales--See my review here.

The Worst Movies I Had the Best Time Watching:
5. Lady Terminator--A blurry photocopy of The Terminator, only the Terminator is an Indonesian sex demon who humps men to death with her serrated sawblade-vagina. Or shoots them. Both methods work.
4. The Room--You're tearing me apart, intarwebs!
3. Dragonball: Evolution--Definitive proof that crappy anime should never be done in live-action. Shockingly offensive example of Lead Actors are White. I laughed at the villain's bad make-up job every single time he appeared onscreen.
2. Birdemic: Shock and Terror--Hands down, the worst acting you've ever seen. And special effects. And everything else. Deserves to make the next list, but it's just too funny.
1. The Happening--Who knew tree-induced suicide could be so hilarious?

The Most Incompetent Excuses for Movies That Hardly Deserve to be Called Movies:
5. The Last Airbender--See my review here.
4. Any of those Resident Evil things--The only entertainment to be had from this abominable series is figuring out which real movie each entry is ripping off. Subsists entirely on young boys obsessed with somewhat-attractive women in tight black leather shooting machine guns. (See also the Underworld series. Better yet, don't.)
3. Redline--Made me appreciate the care and craft that went into The Fast and the Furious films. Yes, I'm fully aware of what that statement entails.
2. Jack and Jill--Less a movie than a scam to bilk investors out of $70 million. More product placement than The Price is Right. A worse Adam Sandler movie than Going Overboard.
1. Disaster Movie--I only intended to watch maybe 15 minutes of this but resolved to continue until I saw a scene that wasn't worse than the previous one. I finished the whole movie.

The Most Overrated Directors:
5. Quentin Tarantino--A screenwriter of talent, if limited range. Would love to see a screenplay of his directed by anyone but himself. Wait, that was True Romance. Never mind.
4. David Fincher--Disowned Alien 3, easily the best film he made. Yeah, I went there.
3. Oliver Stone--Revealed by the films he makes to be insane. Allowed Kevin Costner to be in his film.
2. Peter Jackson--The Frighteners was decent, but everything else he's made has been the worst piece of crap ever produced (Bad Taste) or unbelievably dull (Lord of the Rings) or that godawful King Kong remake (Godawful King Kong Remake).
1. Martin Scorsese--Making films dirty does not make them good. Michael Mann does everything people keep telling me Scorsese does, only Mann doesn't suck. Best work of his career: Michael Jackson's "Bad" video.

Three-Name Actors Who Earn the Right to Use Three Names:
5. HBC--The best there is at playing the role of HBC.
4. Jada Pinkett-Smith--I have three words, one for each of your names: Fire your agent.
3. James Earl Jones--I'm a big fan, even if he did assassinate Martin Luther King, Jr. Makes even a Tennessee Williams play watchable.
2. Tommy Lee Jones--Is there anything the man can't do? (Answer: He can't be bad in a role, even when directed by Joel Shootmenowmacher.)
1. Edward James Olmos--God walks among us.

Three-Name Actors Who Haven't Earned the Right to Use Three Names:
5. Sarah Gellar--Even fans tell me she's the weakest part of Buffy. (What? Like I'd watch that.)
4. Catherine Jones--Gives a good performance as an elitist socialite who isn't half as brilliant or witty as she thinks she is. But any actor can play herself.
3. Richard Anderson--Who needs charisma to headline not one but two TV dramas?
2. Stiffler--This is the only role he plays, so why not credit him as such?
1. Jennifer Hewitt--"Love" isn't the four-letter "L" word that explains her career.

The Worst Actors to Pollute My Movie Screens:
5. Sam Worthington--See any of his films--Whatever of the Titans, Terminator: Enough Already, pick any one you want--and see if you can distinguish him from the CGI backgrounds. Ha-ha! I'm kidding, you can't.
4. Clooney--I refuse to use his full name. Plays the role of "smug, vaguely handsome jerk" in Every Film Clooney Has Been In. Thinks smiling and nodding constitutes acting. Is generally a horrible person.
3. Sean Penn--Someone tell this man that shouting your lines is not the same thing as giving a dramatic performance. Also generally a horrible person.
2. Kevin Costner--Will be remembered long after his death for delivering the worst Robin Hood of all time. Russell Crowe weeps nightly that his awful Robin Hood will be forgotten while Costner's lives on. "Because I'm a survivor" indeed.
1. William Hurt--This man won an Oscar. That sound you hear is the award's credibility going down the toilet.

The Bestest Actors Ever:
5. Guy Pearce--From action hero to insurance investigator to dopehead to Andy Warhol, he just oozes screen presence, sex appeal, and sensitive-guy machismo. American accent was so good I got the vapours when I found out he's Australian. Oy!
4. John Malkovich--He's weird, he speaks fluent French, and he starred in Being John Malkovich. Oh, and his surname is Malkovich. Come on, that's just evil-sounding and wicked.
3. Samuel L. Jackson--Known for shouting, obscenities, and shouting obscenities, yet he can deliver subtle performances in great films (Unbreakable) and terrible films (Sphere), no matter how badly directed he is. Well, okay, except by George Lucas.
2. Jack Nicholson--Yeah, I'm a sucker for Jack doing Jack. Still, for the haters, see Wolf or About Schmidt. He's capable of subtlety when he bothers to act. (See also Brando, Marlon.)
1. Christopher Walken--Does just fine giving a normal performance, but for my money, give me that old Walken Weird! How many times has he walked into an otherwise crap film and Walkenised, giving the audience a respite of awesome for that brief moment he's on screen? (Answer: Uncountable.)

Most Underrated Films:
5. Cube--An English-language Canadian film that's taut, suspenseful, chilling, and thought-provoking. Hey, where are you going? Yes, this is a real film! Oh, come on, get back here! It's got Ezri Dax not sucking!
4. Save the Green Planet!--Features a towering performance from Paek Yun-sik. Pays homage to a number of different films--both good and bad--yet still has its own voice. A truly subtle and fascinating ending.
3. The Ref--Stars Kevin Spacey as Kevin Spacey, Denis Leary as Denis Leary, and Judy Davis as HotSexyAwesome!!!. A funny black comedy about a couple that hate each other. (Alternate title: The Movie The War of the Roses Tried to be And Failed.)
2. Prophecy--Christopher Walken as the archangel Gabriel, lots of Bible-quoting, an almost-priest with a crisis of faith, and Amanda Plummer? How could I resist? (Hint: I couldn't.) I was happy to see this movie ripped off by that atrocious Ghost Rider sequel. Hey, it means somebody saw it besides me!
1. Demon Knight--Great performances from William Sadler, Billy Zane (stop laughing), and Jada Pinkett-Smith Pinkett. Also okay are Thomas Haden Church, Dick Miller, and CCH Pounder. The demons look good, the backstory is straightforward and clear, the villain's motivations are suitably nefarious and simple, and the final showdown shows some moxie from a sassy heroine.

Most Overrated Films:
5. Se7en--M0rg4n Fr33m4n i$ gr34t 4$ 4lway4$, but th3 r3$t i$ ju$t unr3m4rk4bl3. Oh, and the "twist" is as shocking as a closet homosexual Republican. Remember what I said about the twist in Memento? Yeah, this is nothing like that.
4. Equilibrium--Noteworthy if you've never encountered dystopia. For everyone who has, the only fun is figuring out the sources the film's pilfering from. Oh, and Sean Bean dies (by which I mean, Sean Bean is in this movie).
3. Jacob's Ladder--The ending not only renders the entire movie pointless, but it's cheap and derivative. Plus, Tim Robbins sucks.
2. The War of the Roses--Thinks it's a sharp, witty deconstruction of marriage, but it's really just a crass exercise in misogyny and unfunny. An utterly unbelievable exercise in ludicrous violence and Michael Douglas "acting".
1. Every film Martin Scorsese has ever made. Yes, including the ones I haven't seen (i.e., most of them).

There! I hope you enjoyed this installment of "Things I Like or Dislike Arranged into Groups of Five". If you agree with any of my choices--and God help you if you do--please leave a comment. If you don't, then I kindly invite you to leave a long, angry rant explaining that I'm fat and stupid and probably gay and/or a furry that in no way addresses anything I said. And for the one reader out there for whom making lists like this accounts for approximately 42.7% of our conversations--and you know who you are--I know you're thinking, "Alas! What will we bicker pointlessly about now?!" Fear not! Print a copy of these lists, along with your own annotations, and bring them to our next meeting for further pointless bickering.

Southland Tales

Last night, I saw the worst movie I've ever seen in my life.

I don't say that lightly. I don't have a new "worst movie ever" every other week. The worst movie I ever saw was for fifteen or so years Peter Jackson (yes, that Peter Jackson)'s Bad Taste. It wasn't until 2005 that I saw the execrable Princess Aurora, a well-shot film that made me want to smack its writer/director upside the head for its depraved moral message and ludicrous ending. Now, five years later, we have a new world champion of suck.

My readers, I give you Southland Tales (2006).

This movie earned a whopping $350,000 worldwide, on a budget of about $17 million. One would hope this would be enough to ensure writer/director Richard Kelly will never work again, but if his previous pretentious sewage Donnie Darko is any indication, this film is bound to be seized upon as a work of genius by pseudo-intellectual hipster halfwits on DVD. The film is anti-government, filled with cryptic dialogue, and doesn't make any sense, the perfect movie for anyone who wants to maintain the illusion of deep thought without all that bothersome thinking. If a film is impossible to understand, every interpretation of it can be 'deep'.

I'm no stranger to bad movies. I've seen two and a half films by Uwe Boll. (In the Name of the King was putting me to sleep halfway through so I turned it off and played with my guinea pigs for an hour.) Three by Ed Wood. Two by Michael Bay. I'm sorry to tell you this, Kim Ki-duk, but you have been dethroned as the most godawful director in the history of human civilization. Mr. Kelly has taken your crown.

It's bad, folks. Shockingly bad. Not bad in a way that's fun or entertaining. Not bad in a way that's fascinating and impossible to look away from, like the aftermath of a terrible automobile accident or an unbelievable terrorist nuclear attack on Texas. No, it's bad in a way that makes you long for the directorial mastery of Coleman Francis. Whenever I hear the song "My Humps", I shed a single tear as a tiny piece of my soul dies. After ten minutes of this movie, I searched for a straight razor to run across my jugular. After watching the whole movie, I was ready to blanket the planet in nuclear weapons, rendering it uninhabitable to remove the danger of anyone else's ever seeing it.

What's it about? Don't ask me, I only watched it. I can't give you a plot synopsis. I can't even confirm that the film has a plot. All I can tell you is the background, which the film takes great pains to explain since it doesn't have any impact on the events about to unfold. Two cities in Texas have been nuked by terrorists...I guess. The narrator claims this started World War III against the Axis of Evil, but the two cities aren't strategic targets or even population centers and seem more like the kind of place a terrorist group would choose to bomb because they can't reach anywhere vital.

In the wake of these attacks, the government goes full on fascist with an even Patrioty-er Patriot Act. Well, kind of. "Clinton" is running for president (Barack who?) against guy-who-isn't-named-Bush-but-is-still-Republican-and-therefore-the-fascist-guy-we-don't-want-to-win-the-election. So apparently we aren't fascist yet, but we will be if Hilary doesn't win. So the Neo-Marxists want Clinton to beat the fascist candidate, even though we already appear to be fascist, what with the new Orwellian government agency USIDent keeping tabs on everyone and cops gunning down unarmed people in their own homes in front of witnesses. Or maybe not. Resisting the fascism of the not-yet-fascist government are the "Neo-Marxists", who also operate as terrorists. No, really. Because Marxist terrorism is a grave threat in today's world. How prescient this film is! The Neo-Marxists don't kill people, though. Instead, they blackmail the fascists by taking pictures of an actor who supports the fascist candidate making out with a porn star instead of his wife, which will cause them to lose the election. Clever, eh? How could the fascist guy win if a famous guy who supports his campaign cheated on his wife? Brilliant! Writer/director Kelly, my hat's off to you, sir. You have your finger on the pulse of current events.

What else has this dastardly fascist government been doing? Anyone faint of heart had better leave the room....okay, ready? They've invented environmentally-safe perpetual motion technology. Those bastards! This technology, dubbed "Liquid Karma", uses the movements of the ocean to power the country in a way that doesn't cause any harm to the surrounding environment and removes the need to use any other natural resource to generate energy. Now you see why the Neo-Marxists simply must bring this government down! Viva la revolution! Vote Clinton '08!

If you think this synopsis is confusing, try watching the film. Better yet, don't.

The performances are terrible, with only one exception: Wallace Shawn, in full Christopher Walken mode. (Meaning, he either didn't get any direction from Kelly or recognized the direction he got as the codswallop it was, so he just fell back on his default quirky performance.) Fortunately, Wallace Shawn is extremely good at doing Wallace Shawn, and his every appearance on screen lifted me up just a little from the morass of crap I was drowning in. Everyone else is either terrible or forgettable. The Rock is a capable actor, but he either didn't realize that Kelly's direction would make him look like an ass on camera or he didn't have the decency to give Kelly a People's Elbow instead of listening to him. Cheri Oteri reminds me why Saturday Night Live hasn't been relevant in 15 years. Stifler looks lost, whether because the script is a half-baked collection of ideas stolen from actual artists or because he himself is a cretinous sub-human with no more sense than God gave a turnip, I couldn't tell you. Sarah Michelle Gellar is convincing as a skanky pornstar until she attempts to act. Jon Lovitz is as expressive as a wax dummy of Keanu Reeves. Mandy Moore is unrecognizable and Not In This Film anyway. Christopher Lambert (seriously?) is along for the paycheck. Bai Ling is dressed in a sexy outfit and given a disastrous hair and make-up job that nullifies her sexiness entirely. John Larroquette gamely tries to give a performance but is constantly sabotaged by how inconsistently dopey his character is. I didn't know Miranda Richardson played the film's antagonist until I read its Wikipedia page; certainly the film itself gives no such indication.

No piece of overlong, pretentious tripe would be complete without a dream sequence that comes out of nowhere, has nothing to do with anything, and has no effect on subsequent events. Because God hates me, Kelly's got us covered: Justin Timberlake's inexplicable musical number that is somehow "the film's heart and soul", according to Kelly. Timberlake also narrates the film, but nothing he says helps us understand it. He is a soldier who mans a giant gun turret on the southern California beach. Yep, if the North Korean navy evades our entire Pacific fleet, bypasses Japan, and chooses a crowded public beach as the focal point of its amphibious invasion of America, by gum, we've got soldiers there to defend it! Timberlake's character is also a user of Substance D--err, I mean, Liquid Karma. Wait, what's that you said? Liquid Karma is the technology that allows the movement of the tides to power the country, so how can it be a narcotic? Because drug use was a big part of some of Philip K. Dick's great works, so Kelly shoehorns it into his Dickwankery whether it makes sense or not. Actually, Kelly does anything whether it makes sense or not.

Now, I don't quibble when people say something is the best or the worst in the world. I don't say to them, "Don't you mean, the worst movie that you've seen?" It's a silly thing to say. Of course I mean the worst movie I've seen. That doesn't even need to be stated. In this case, however, I did specifically start off this rant by saying it was the worst movie I've seen rather than the worst movie ever made. Why?

This movie seemed tailor-made to piss me off.

First, it's post-apocalyptic, one of my favorite genres and a genre that's very hard to do well (Zardoz, Waterworld) but can be very powerful when it is (The Road Warrior, Wall-E). This one isn't.

Second, it's a storytelling mess. Nothing makes any sense. Scenes begin and end at random. Some characters speak entirely in non sequiturs. The rest speak in circles. There's no identifiable protagonist or main story thread. Characters enter and exit the film without rhyme or reason. There's an annoying narrator who adds nothing and is not involved in the story. There is no sense the film is building to anything. The scenes could be reshuffled in any order and I don't see how it would make a difference. The ending implies (I think, I'm just guessing here) that everything that came before it was pointless.

Third, it's nothing but a pastiche of better stories. The dialogue is yet more tiresome aping of Tarentino, all discursive ramblings about nothing or discursive ramblings that appear to be about nothing but are really about something. (Christ, people, Pulp Fiction came out sixteen years ago!) Two of the characters (Taverner, Luft) have names from Dick's works, and then the Jon Lovitz character actually quotes half the title of one of Dick's books (Flow My Tears, the Policeman Said). The whole style and feel of the film--the drug use, the multiple people, the anti-government paranoia--are all imitation Dick. The non-linear nature is very faux-Gilliam. There are a few halfhearted attempts to rip-off Blade Runner, but Kelly can't even figure out Ridley Scott's film, much less figure out how to copy it. Ah, Ridley Scott, before he caught Oliver Stone-itis and starting making big, dumb Braveheart clones....

Wait, where was I? Oh yes--fourth, Kelly profanes two of my personal greats by invoking them in a vain attempt to salvage this trash. The embarrassing attempts to ape Dick have already been noted. Then, just to pile on the insults, Kelly includes a snippet of my favourite piece of music. That's right, he pisses on Beethoven's grave by including a bit of the Ninth Symphony, Second Movement. Not just my favorite symphony, but my favorite movement of that symphony.

I about lost it at that point. I don't remember much of the last ten minutes of this absurdly long film. (Two hours and twenty-four minutes, really?) I can tell you that it's badly-acted, nonsensical, and doesn't resolve anything. So, in keeping with the rest of the film. Oh, and it included an out-of-nowhere dance sequence and an explosion that meant...something.

Or nothing, if I understood the ending. I wouldn't bet on it.