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Fight Club
Clearly Fight Club has had a polarizing effect on its audience and I don’t want to take away from the fact that some people simply don’t like it because of personal preference, but I also feel that that’s part of the design of the film.

Fight Club is an extremely complex film, in a way that we haven’t seen in a long time (or maybe ever). In films that are actually about something and that have a lead character with whom we are supposed to identify, there are several key changes in attitude that you can chart from the beginning to the end. The character learns the lessons put before him and becomes a different person. Like the various epiphanies that Travis has in Taxi Driver or Max in Rushmore. Sometimes, like in American Psycho the lesson is that there are no lessons. There is some element of this in Taxi Driver as well. The movie follows these characters and gives us external clues to their internal changes (Max and Travis both make dramatic wardrobe changes at key moments in their developments) but the movie usually remains consistent in its storytelling style. (In films that are not about anything at all, like Bond films, the character learns nothing at all and doesn’t ever change)

In Fight Club the narrator goes through countless major changes and the film is divided up into so many little emotional turns and cues that it boggles the mind. Everything in the film (everything!) is a clue to the character’s inner struggle. The entire movie happens in this constantly evolving state. It seems to be about dozens of different things at any given moment only to flip it’s entire meaning the next. If you hang in until the end the payoff is extraordinary. But if you get stuck along the way or lose interest it all seems to be pointless. People who say it is a critique / glorification of violence, of capitalism, of men, of women, of whatever are getting little bits that are dropped along the way, like bread crumbs in a dense forest. The ads made it out to be an anti-consumerist film (a little irony all its own) but that is only a small part of the movie and not, ultimately, the crucial one anyway.

The way that the film changes point of view is excellent. Director David Fincher indicates that he is going to do this early on when we first see Remaining Men Together. The meeting is portrayed for maximum comic effect and the narrator smirks at the prospect of crying on Bob’s bitch tits. That’s because we haven’t gone through enough yet to appreciate the weight of this situation and are seeing it as if we had walked in cold. Then he takes us back further and we see the desperation in his life. When he comes back around to Remaining Men Together there is nothing funny about it; From the first man’s incredibly sad story to the narrator’s complete and total abandon on Bob’s chest, the scene takes on a totally different tone. Unlike something like The Sixth Sense which invites you to look at all the ways the trick ending “works” on repeat viewing, Fight Club changes tone with the lead character and as he sees things differently the entire film becomes different. What you see in the beginning may not necessarily still be true by the end.

People will be writing dissertations on Fight Club for years to come. That is not to say that academia is all-important, but rather that the film may grow to be a touchstone of our culture, like Taxi Driver, Warhol, and Elvis. Something that you have to have an opinion on, that you can disagree with and still find endlessly interesting. To misinterpret it as a film saying that fighting in basements is good or that we should do public destruction is tragic, but inevitable. The kind of mindset in the movie is real. Leaders are tormented, confused people and that dynamic draws attention. Is Project Mayhem unrealistic? Hardly.

Is Fight Club misogynistic?
Is the movie misogynistic? Not at all. In fact, like Chuck Palahniuk’s “Invisible Monsters”, the story dissects what it is that makes us men and women. Marla is an extremely sympathetic character caught up in the life of someone who doesn’t understand what she means to him. The entire movie is clouded by his misperceptions and she seems unstable. Of course, we come to realize that she’s not the one that’s unstable. The narrator rejects her (”I don’t think another woman is what we really need.”) because he is exploring what he thinks his male needs are. Tyler represents his male ideal and he is in love with that. There is a reason why the domestic scenes with Tyler and the narrator have such strong homoerotic overtones. The narrator is not able to process the masculine and feminine sides of his soul and mind and has split in two. At the beginning he is, while not happy, maintaining in his consumerist, wage-slave, “feminine” (not female, but feminine) life, accepting that that is right. It is not right and Tyler shows him a much more aggressive masculine side and at first that seems right. That is why fight club initially seems so cool and sexy. The movie shows it to you through his eyes. That is not enough and Tyler creates Project Mayhem. Eventually, as the character changes, fight club does not seem so right anymore. The intense beating he gives the blonde angel is a turning point in fight club. Project Mayhem now seems to be the answer. With the silly music, the homework assignments, and the perfect targets like Starbucks it’s hard to argue with the goals of Project Mayhem. That, of course, is eventually shown to be wrong too. It is not liberating, although it initially seems like it is. It is just more fascist BS. The narrator is disillusioned with that and with Tyler. Then the truth about Tyler is revealed and the narrator realizes how he has wronged Marla. He tries to undo some of the damage that he now realizes that he has done. Marla has accused him of being sensitive one minute and a jerk the next. He didn’t realize that he had been any of those things, but the two sides now make sense and he feels the need to balance them. When he “kills” Tyler he is not banishing his masculine traits, but rather reabsorbing them and finding the balance that he needs. The movie ends with the linking of the man and the woman as they watch the apocalypse, basically Adam and Eve starting over and unmaking all the mistakes they have made, getting it finally right.

So ultimately this is the opposite of misogynistic. In fact, it explores what the masculine and feminine sides of human nature are with an openness that you won’t find in any number of cynical films like Anywhere But Here that pander to women by assuming that they want uncomplicated weepies. Fight Club dares to ask questions and try out different theories. It makes arguments and then disproves them.

Fight Club deserves concentration and actually demands it. You can watch it purely as entertainment, but that would be an emotionally and physically draining experience. It is so uncompromising in its tone and themes that you have to see the thought process behind the razzle-dazzle. That there even is one is already remarkable, but that it is so complex is astounding. So many films, like Boogie Nights seem to be going somewhere and then go off track and end up achieving nothing. When I first saw Fight Club opening night I wasn’t sure that I knew where it was going and felt myself being jerked into a million different directions. It was exhausting and I wasn’t really sure what I thought afterwards. But after hours and hours of discussion and thought I felt like I had figured it out and now that I am confident that it leads somewhere worthwhile I can watch it and completely give myself over to it. Even having seen it already it constantly surprises. I don’t think there has ever been a film like this before.

Interpretations
Fight Club is clearly about something, although it takes hard work and thought to figure out exactly what. And even then what you take away may be different from others. That’s the beauty of it. You don’t NEED to look for messages and themes in film. That’s fine. But don’t say they’re not there. A lot of films make statements on surprising topics (Fincher’s own much maligned Alien 3 was supposed to be an allegory for the then-rampant AIDS virus; John Ford’s iconic Western The Searchers, which on the surface seems to utilize every genre cliche in the book, is actually a searing look at racism; Fight Club happens, in my opinion, to be about masculine and feminine identities and how they fuse to create our psychological makeup more than anything else) but they’re only important if you care. If you don’t, just enjoy the eye candy. Fight Club certainly excels on that level as well.

To those that think the message is something like “Get out and live”: Glad to see you’re thinking about the movie beyond a knee-jerk “It’s stupid / it’s fascist / it’s kick-ass!” reaction. Now watch again and look closer. It is so much more than that.

To those that think it is an anti-capitalism movie: It’s not. That was the ad campaign and it was geared to get you in. Ultimately it is about a lot more than that.

To those searching for answers: Yes this movie is complex. But it is consistent. The points it tries to make it makes. It doesn’t fall apart at the end. If you read the book you’ll find a less meaningful, more standard ending. The movie has a sort of happy ending that combines all of the themes from the film: hitting bottom, self destruction, gender issues, control issues…

Ultimately, you should just watch it and decide for yourself what it is about!

PART 2

Gil Jawetz is a graphic designer, video director, and t-shirt designer. He lives in Brooklyn.

E-mail Gil at buskerdog@yahoo.com
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"The color gray." (Pretty Bad)

Oscar bait with no bite.After Anthony Hopkins, a classics professor, makes reference to two students missing since the semester?s inception as ?spooks,? one of the truant students eventually surfaces to file complaints of racism ? both absentees are black. Snubbed by his colleagues and fired, shortly after his wife dies, along the way he begins an affair with Nicole Kidman, a mysterious factotum. The fragmented storyline skips back-and-forth to the lackluster and unswallowable romance, and Hopkins? secret past. Assumed a Jew, the character is instead a light-skinned African-American (a fact that, if it were revealed, would have obviously prevented his being fired) who finds it easier to get along in the ?white man?s world? rather than struggle along by being recognized as black. (Only near the end does a speech by Anna Deavere Smith register any form of a dent on those issues, and is the only sign of its kind.) The revelation in the story contains its highest possibility for an interesting examination of a society that can be so two-faced to a person in the times it was set (as well as the modern implications). But neither Robert Benton nor Nicholas Meyer (from Philip Roth?s novel) feel compelled to give that much exploration. The wattage of Hopkins and Kidman (with a more sallow glow from Gary Sinise, as Hopkins? friend, and Ed Harris as Kidman?s estranged husband, a deranged Vietnam vet) blinds Benton to the meagerness of the story, all too carefully composed as a critique of Clinton?s P.C. reign. Kidman, an actress most seem to be too quick to dole out respect to, is perhaps the weakest link of the entire film, giving what is perhaps her worst performance ever. Completely miscast (how could such an oversight be made?), the China doll-faced actress sees to it at all times to speak in a breathy whisper, as though being muffled out, and with a bad accent in-tow. Even Hopkins, whose casting seemed an interesting choice, clearly underutilized, looks lost throughout it all. Only Wentworth Miller, playing the young Hopkins character, does something amazing with the role, with his subtle performance playing to a segment that removes itself from the rest of the movie. With Jacinda Barrett.[See it if you must.]
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DOWNLOAD MOVIE Duel Just $2.99 for a complete movie! No additional software or browser plug-ins required! You can play them for unlimited number of times whenever you want. Downloaded movies will work perfectly on any PC, DVD player, PDA etc.
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The Quiet Duel (1949)

‘THE QUIET DUEL’ BY AKIRA KUROSAWA

Students of the work of Akira Kurosawa may want to make a trip to the Thalia theater, where a double bill of ”Rashomon” (1950) and ”The Quiet Duel” (1949) opens a two-day run today. ”Rashomon” is an acknowledged Kurosawa classic. ”The Quiet Duel,” which is, I’m told, having its New York theatrical premiere, is a footnote to a great career.

Based on a Japanese stage play, ”The Quiet Duel” appears to be a heavily disguised parable about the long-range effects of the kind of militarism that led Japan to defeat in World War II. The film is about the terrible ordeal faced by a dedicated young physician (Toshiro Mifune), who contracts syphilis while operating on a syphilitic patient during the war. Knowing that the treatment is long and the cure unreliable, the doctor, after the war, refuses to tell his fiancee his reason for ending their engagement. His argument is that if she knew the truth, she would be willing to wait forever, which, the doctor reasons, would be unfair.

The movie’s ”problem” seems remote to us now not only because syphilis is not quite the lifelong sentence it was when the film was made, but also because the codes of honor being acted on appear to be designed to increase and perpetuate guilt rather than to alleviate it. The film’s most effective scenes are not those of renunciation and sacrifice but those occasional explosions in which the condemned young doctor questions the fate that has given him the punishment for a crime he has never committed. He is, he tells us, a virgin.

Mr. Mifune gives a fine, restrained performance, while the late, great Takashi Shimura (”Ikiru,” ”Rashomon” and ”The Seven Samurai”) has a much smaller role as the young man’s extremely understanding father. The screenplay’s theatrical origins are not apparent in Mr. Kurosawa’s easy, unobtrusive style, but they certainly are evident in a hysterical subplot involving the reappearance of the soldier who first infected the doctor, along with the poor soldier’s pregnant wife.

The Cast

QUIET DUEL, directed by Akira Kurosawa; screenplay by Mr. Kurosawa and Senkichi Taniguchi, based on a play by Kazuo Kikuta; cinematographer, Shoichi Aizaka; music by Akira Ifukube; produced by Daiei production; produced by Hisao Ichikawa and Shojiro Motoki; a Daiei production. At the Thalia, Broadway and 95th Street. Running time: 95 minutes. This film has no rating.

Kyoji Fujisakik . . . . . Toshiro Mifune

Kyonosuke Fujisaki . . . . . Takashi Shimura

Misao Matsugi . . . . . Miki Sanjo

Susumu Nakada . . . . . Kenjiro Uemura

Takiko Nakada . . . . . Chieko Nakakita

Rui Minegishi . . . . . Noriko Sengoku

Corporal Horiguchi . . . . . Junnosuke Miyazaki

Patrolman Nozaka . . . . . Isamu Yamaguchi

Nurse Imai . . . . . Hiroko Machida

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DOWNLOAD MOVIE Into the Sun Just $2.99 for a complete movie! No additional software or browser plug-ins required! You can play them for unlimited number of times whenever you want. Downloaded movies will work perfectly on any PC, DVD player, PDA etc.
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In his latest straight to video action movie extravaganza, aging ponytail man Steven Seagal plays Travis Hunter, a master martial artist who just happens to be of Japanese heritage and a man who has a strong understanding of the Yakuza and their mysterious, eccentric, and sinister ways.

When a Japanese federal official is assassinated, the C.I.A. figures that the Yakuza might play a part in the reason for his death, and they call in their man Travis to handle the job to head on over to Tokyo and sort it all out. Hunter won’t be alone on his mission though, thankfully the Feds have had the good sense to send a new recruit named Agent Mac (Matthew Davis of Legally Blonde) along with him to learn the ropes (and maybe keep him in line a little bit too).

When the two super cops start their investigation, it doesn’t take them long to find out that the Yakuza are undergoing some serious restructuring within their organization. One of the young upstarts has teamed up with a Chinese crime lord and together they’re making short work of the competition?

Into The Sun has a little more of a story to it than most of the recent Seagal action films. It also has a lot more of Seagal’s own music playing throughout it as well, which is, well, odd. Throw in the seemingly required ‘Steve sleeps with a hot young chick’ scene and a more or less disposable supporting cast that are there to either have their asses kicked or provide an outlet for some comic relief and you’ve got yourself a standard Seagal actioner.

While story wise it isn’t anything to write home about, the movie does deliver a couple of remarkable action set pieces that lend some credence to the rumor that maybe the man hasn’t lost his touch after all. Seagal is moving pretty fast and looking a lot better in this movie than his other recent efforts and the movie does benefit from that. A fantastic fight scene that takes place at a big shopping concourse ends too soon but does a nice job of setting up some of the action to come, and when the big finale finally hits the screen and Seagal pulls out his sword, well, let’s just say if you were ever a fan of his earlier films, you won’t be disappointed in the way this one finishes up.

Directed by the filmmaker known only as ‘Mink’ (he also directed Busta Rhymes and Xhibit in last years gangsta rap action fest Full Clip), the film runs at a nice, quick pace and if nothing else it always looks quite slick. The visuals are handled nicely, with some very fluid camera work and the color scheme is quite complimentary to the action.

The DVD

Video:

The picture is presented in a pretty good-looking 1.85.1 anamorphic widescreen transfer. There are some mild compression artifacts present during a couple of the darker scenes, as well as some mild edge enhancement but none of it is overly severe. Colors look pretty bold and robust without coming across as overcooked, and the flesh tones in the film remain life like without turning too pink or too orange. It isn’t a perfect transfer with the aforementioned authoring issues, but there isn’t any print damage worth complaining about (a few specks more than I’d expected from a new film, but still not too bad) and the grain that is noticeable is only of the very fine variety. The movie looks good.

Sound:

The English language Dolby Digital 5.1 Surround Sound track does a great job of handling the action scenes for this film. It’s a pretty aggressive mix that differentiates and places the action sound effects across the soundstage as required by the way the film plays out. Plenty of gunshots, bone cracking, sword swinging and cheesy background music swells up behind (not overtop) the dialogue, which lets the talkier bits stay clean and easy to follow. This DVD contains and optional English language closed captioning feature as well.

Extras:

The only extras on this DVD are trailers for Dead Birds, Wake Of Death, Control, The Brotherhood Of War, Doing Hard Time and Out Of Reach. There are no other supplements on the disc and surprisingly enough the trailer for the feature attraction is conspicuously absent on this release.

Final Thoughts:

Into The Sun is a lot better than most of the recent Seagal outings ? but that isn’t saying a whole heckuva lot. It’s plenty violent, and lots of fun in a mindless action movie kind of way, but don’t expect any serious tension or suspense, because it isn’t here. If you’re able to turn off your brain and just enjoy the ass kickings, then this one comes recommended but if you require a little more substance than that, well? rent it first (and what are you doing reading a review for a Steven Seagal movie in the first place?).

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DOWNLOAD MOVIE Second in Command Just $2.99 for a complete movie! No additional software or browser plug-ins required! You can play them for unlimited number of times whenever you want. Downloaded movies will work perfectly on any PC, DVD player, PDA etc.
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The technical qualities are straight out of a cheese factory.   Why on earth would they not add more emphasis to the special effects during action sequences.  During the first bad guy encounter Van Dam conveys through body  language his dislike for the scene…and without any special effects to support it the scene amounts to a sloppy practice run.     Everything in this movie conveyed “Low Budget”.   The film editing is almost as bad as the movie speed 2 where a lot of garbage is left with choppy awkward shuffling.   Depressed people with close access to loaded guns should not see this movie for fear of encouraging an urge for suicide tendency.   Bottom line; this movie is a real bummer.

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DOWNLOAD MOVIE Hunt for Red October, The Just $2.99 for a complete movie! No additional software or browser plug-ins required! You can play them for unlimited number of times whenever you want. Downloaded movies will work perfectly on any PC, DVD player, PDA etc.
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"I’m not an agent, I just write books for the CIA." (Worth A Look)

Russians don’t take a dump, son, without a plan…The best movie with a Baldwin, ever.Each time I see this film, I forgive Alec Badlwin for The Shadow, The Juror, Heaven’s Prisoners, The Marrying Man and The Getaway.But not Mercury Rising.Anyway. This was the first time we saw Jack Ryan (Baldwin) on screen, and the only time Baldwin got to play him. Too bad. I think he’s better in the role than Harrison Ford. Ryan figures out that a Russian submarine commander, Ramius (Sean Connery) is planning on defecting, bringing his crew and the Russians’ new nuclear powered, silent running submarine, the Red October, with him. Problem is, Ryan has to convince everyone else this, because they think Ramius is actually going rogue and plans on launching his missles off the U.S. coast. This is what the Russian government wants the Americans to think, so they’ll actually go out and help sink Ramius, thus preventing him from defecting.Ryan must convince his superiors, even going so far as to fly out to an American sub that’s tracking Red October and convincing that ship’s captain (Scott Glenn).One of the better Cold War inspired movies (despite being released at the Cold War’s end/demise), it’s actually pretty good. The underwater shots of the submarines are crappy (models and computers were used, and it shows), but the tension and the acting make it worth it. Suspenseful, good drama, with just enough action, too, and it’s not nearly as dense as the Tom Clancy novel that it’s based on.And I will have a pickup truck… maybe even a "recreational vehicle."
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The original The Butterfly Effect was the brainchild of writer-directors Eric Bress and J. Mackye Gruber, who had previously written a sequel for another gimmicky series in Final Destination 2.  There’s more than that connection to link these two different series, as both feature sequels that are only tangentially related to the others, essentially remakes more so than continuations of previous storylines.  The problem with a film like The Butterfly Effect 2 is that, unlike the gory, humorous Final Destination series, there really isn’t much joy in the plot itself after understanding it the first time.  Since we all know where it’s going, we have little vested interest in the artificial storyline, and without any humor or titillation to speak of, it’s little more than a mechanical, joyless regurgitation, except with no-name stars and lesser production values.

This episode, wholly unrelated to the first film, features Eric Lively (Speak, The Pact) portraying Nick, a 20-something man on the verge of a personal and professional boom.  It’s his girlfriend Julie’s (Durance, "Smallville") birthday, and as special as he wants her day to be, he must unfortunately head back to work, as he is jockeying for a big promotion, and doesn’t want the job handed to someone seen as more loyal to the company.  Tragedy strikes when he loses control of the car, causing the big rig behind him to smash into his SUV, killing off Julie, his potential promotion, and his happiness.  A year passes and he is still not over the event, but he has begun to feel strange effects in the pictures he looks at, finally culminating in regressing himself back into the moments depicted in the photos, this time with the ability to change his future.  However, when he returns to the present, Nick doesn’t always like what he finds.

Given that I didn’t really enjoy the first film, it shouldn’t come as a surprise that I also don’t have much love for this very redundant sequel.  The short summation is that it is essentially the same movie with different characters and situations, and instead of a diary, the time-travel is done through photographs.  Even if you did like the first film, I can’t really understand what would appeal to you about seeing it done again, as the script by Michael Weiss (Crocodile, Octopus) gives no new twists on the formula, and doesn’t ever try to explain how such a bizarre phenomenon could actually happen and why.

Since I can’t recommend the film to people that liked The Butterfly Effect, the only audience out there that I could see actually finding this story intriguing would be those that have never seen the original but find the premise interesting.  About the kindest thing I can say about this rehash is that it isn’t as dark in its tone and themes, making it much easier to take for those squeamish about sadistically repugnant scenes of child abuse.  I should point out that, even if I had never seen the original, it is highly doubtful that this would have actually thrilled me as a standalone entry enough to give this a higher rating than I have here.

I suppose there is an irony in knowing that this sequel/remake is the opposite of the main premise of the film.  In the fictional story, someone goes back to relive the same events but takes a different direction; in the reality of this sequel, the makers of The Butterfly Effect 2 have chosen to relive different events and choose the same direction.  Regardless of the differences, both the fiction and the reality do come up with the same conclusion:- going back and reliving past events doesn’t always produce better results in the present.

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"Kevin Smith Gives A Hilarious Thank You To His Fans" (Worth A Look)

Directors and actors all the time talk about making movies for their fans. Just last November, Adam Sandler gave Little Nicky a speech impediment because he claimed ?that?s what the fans wanted.? Well, Sandler obviously doesn?t know his fans the way Kevin Smith does. Smith?s films have integrated a variety of characters and language into the psyche of a cult universe that holds them close to the heart that knows all the connections and a scene-by-scene analysis. Jay & Silent Bob Strike Back is like a great big thank you to those of us who have followed his career since his original low-budget classic, Clerks.Smith has always committed himself not only to his film projects, but also to delivering all the extra goodies associated with the video releases. Going back even to the days of laserdiscs and spilling into a current crop of DVD special editions, Smith and his assorted cohorts have taken to recording audio commentaries, delivering tons of deleted footage and unabashedly showing his audience how much fun they are having. Jay & Silent Bob Strike Back is like one of those commentaries made into a movie.Jay (Jason Mewes) and Silent Bob (Kevin Smith) are known in the ?View Askewniverse? as the foul-mouthed insensitive drug dealer and his quiet ?hetero lifemate? who stand in front of the Quik Stop day-in and day-out. In ?Chasing Amy?, they became the inspiration of a comic book series called Bluntman & Chronic, created by Holden McNeil (Ben Affleck) and Banky Edwards (Jason Lee). Now, thanks to information obtained from Holden and Brodie Bruce (a ?Mallrats? character, again played by Lee), they?ve discovered that a Bluntman movie is days away from production. So it?s off to Hollywood, not to collect deserved royalty checks, but to shut up the anonymous internet geeks badmouthing them about not deserving their own movie. Thus begins what is arguably the weakest section of the film, the beginning of a road trip that contains the large portion of the flat jokes found in the trailer. Along the way they hitch a ride with a van full of beauties (Eliza Dushku, Shannon Elizabeth, Ali Larter and Smith?s wife, Jennifer Schwalbach) on the way to a jewel heist disguised as an Animal Rights protest. This amusing mission not only brings the ending to ?Mallrats? full circle, but is also significant as to give Jay his first love interest in Justice (Elizabeth). It furthermore tags Jay & Bob as criminal masterminds, inciting the Sam Gerard-like obsession of Federal Wildlife Marshall Wilenholly (Will Ferrell) in a subplot reminiscent of the similar adventures of Beavis & Butthead in their first big-screen adventure. Nothing will prepare Smith cinephiles though (other than actually seeing all of his films) for the third act when they finally reach the film on the set of Miramax studios. Without giving anything away, this is a film buff?s smorgasbord. You have to know stars, directors, their careers and the Miramax catalog like a game of Six Degrees with Kevin Bacon nowhere in sight. If you can avoid any reviews or cast lists that even hint at the arrangement of celebrity cameos on display, your pleasure factor will increase tenfold. What Smith has accomplished with Strike Back is really quite extraordinary. He?s incorporated the juvenile cartoonish humor in Mallrats that he was so universally criticized for into a Hollywood satire that isn?t dark (The Player) or cutesy (America?s Sweethearts) in nature, but manages to hit every single target with the help of the targets themselves. Smith regulars get to play multiple characters and even themselves as parodies of their star personas. His foreseen ?Star Wars? references finally get to put in an appearance in the flesh. All these performances in the movie are spot-on perfect with the exception of Shannon Elizabeth, whose attempts at broad humor are downright embarrassing, especially when matching wits with Mewes and the great Eliza Dushku. In a time when the term ?everyone?s a critic? is demonstrated with a disturbing escalation in gossip outlets, internet websites and newspaper columnists, I actually feel sorry for those ?professionals? who can?t find the enjoyment in Jay & Silent Bob Strike Back, mainly because you’re likely to catch a beating. On the surface, it looks like a stupid vulgar comedy directed at those who think cinematic genius comes in the form of every ?There?s Something About Mary? and ?American Pie? ripoff in the last few years. But there?s an inspired lunacy (a.k.a. critic-speak for cleverly stupid) at work here and Smith never tries to force-feed the audience a buffet of spoiled gross-out jokes and holding a contempt for what many films think are the childish sensibilities of its fans. Smith knows his fans are smarter than that and he uses his vulgar jokes as parsley. Laugh, don?t laugh, it doesn?t matter, because there?s so much more to devour on the plate.Jay and Silent Bob Strike Back is like an ?R?-rated Pee Wee?s Big Adventure, with a pair of (not-so) innocents traveling cross country encountering a whole world to which they were entirely ignorant to. Those unfamiliar with this world may not take much away from Jay & Silent Bob Strike Back than a string of gay jokes (lighten up GLAAD) and potty humor, but those who do will recognize it as one big inside joke where you?re rewarded in huge laughs if you know the info.
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I wouldn’t go as far as to call Saw 2 a cerebral experience, but there’s just something devilishly appealing about horror material that works in your brain and not just in your gut. Throughout both of these rusty little Saw movies, I’m posed with the question of “What would you do if you had to saw your own foot off / dig through a corpse’s innards for a key / remand another person to death so that I might survive?” Saw 2 is the horror equivalent of that “Book of Questions” that we all bought and then broke out at parties. Much of the movie is also your standard slasher stew mixed with some half-decent police procedural stuff — but when Saw 2 gets rolling with those gruesome, gritty puzzles, I think it’s the coolest thing this side of Clive Barker’s nasty ol’ horror stories.

This sequel doesn’t slavishly follow up with the precise ending of Part 1, but it comes close enough to keep the loyal fans entertained. Suffice to say that sick ol’ Jigsaw is up to his nasty tricks again: The prologue delivers a sequence in which one unfortunate guy gets his head squashed inside of a nail-coated, metallic venus-fly-trap mask thingamajig. In this sequence some see pointlessly ugly desperation and gore for gore’s sake. I see a kinetic, exciting, and enjoyably intense inner struggle that ends with a crimson thwack.

In come the police, and this time they have very little trouble apprehending the creatively kooky killer. Detectives Mason (Donnie Wahlberg) and Kerry (Dina Meyer) are on the case; he’s got a short temper and an estranged son, while she’s got a lot of exposition to unload and a pretty face. So over the course of one extended interrogation, Jigsaw reveals that not only does he have eight people trapped inside a house filled with poison gas and horrible deathtraps, but also that we can all watch this sinful spectacle via live video!

Imagine Mason’s amplified concern when he realizes that his teenage son is in among the poisoned captives.

And back and forth we go. For a little while we stick with Mason and Jigsaw as they throw dialogue at each other, most of which has to do with threats of violence or ruminations on the nature of human mortality. Some of this material gets a bit redundant as the running time wears on, but Saw 2 moves at such a brisk clip that you’ll just begin to notice the strain as the Act III insanity starts to kick in.

When we’re not dealing with Mason and Jiggy, we’re trapped in the death-house with eight of the most desperate whiners you ever will meet. True that there’s a good reason for this crew’s collective crankiness, but aside from Mason’s son Daniel (Eric Knudsen) and veteran Saw-avoider Amanda (Shawnee Smith) there’s not much offered on the character menu. The soon-to-be corpse cast-members are given perhaps one solid personality trait apiece to show off, which they do just prior to their inevitably icky demise.

Perhaps it’s just the dormant Nine Inch Nails freak in me that loves the Saw flicks’ cold and gruesome exteriors … but mainly I’m just sick to death of the ridiculously lame and consistently worthless deluge of PG-13 “horror” movies that offer nothing but formulaic stories, moronic dialogue, and photogenic TV actors who are way out of their element. Maybe it’s just that I’ve been so starved for horror flicks that don’t skimp on the grand guignol nastiness that I enjoy so much that I’m left over-praising movies like Saw, May, The Descent, Hostel, High Tension, and, yes, Saw 2. (Or heck, maybe I secretly work for Lions Gate Films!) But I don’t think I’m overcompensating when I say that Saw 2 is one of the better horror movies to hit the screens in ‘05 — which is a compliment to the sequel-makers, but is mainly an indictment of the current state of the horror genre in general.

Saw 2 might have been a “bang out
the screenplay, shoot it, and get it into theaters quick” sort of sequel (and it so totally was), but there seems to be a real commitment here to pleasing the hardcore horror fans. It’s certainly not a flawless effort, but it’s good, gory entertainment all the same, and let’s face it: Not many horror sequels can make that claim.

The DVD

Video: It’s a richly red and creepy-crisp anamorphic widescreen (1.78:1) transfer. Last year we noticed a big improvement in picture quality between Saw and Saw: Uncut, but Part 2 looks pretty damn excellent the first time out.

Audio: Choose between Dolby Digital 5.1 Surround EX (which is damn good) or DD 2.0 Stereo. Optional subtitles are available in English and Spanish.

Extras

OK, any Sawfan worth his or her salt is already well aware of the release pattern by now. Come October we’ll have Saw III in the multiplexes and a brand-new 2-disc “Unrated” Edition of Saw II hitting the DVD shelves, with all new gore-splatters, extra features, and blood-soaked cover art. So if you’re planning to hold out for that release, I can’t say I’d blame you. But this one-disc theatrical-cut DVD still has some half-decent bells and whistles to offer.

First up is a feature-length audio commentary with director/co-writer Darren Lynn Bousman and actors Donnie Wahlberg & Beverley Mitchell. The trio keep the chit-chat coming fast and furious with equal parts affection, self-deprecation, and attention to detail. Hardly the most production-oriented chat-track you’ll ever hear, but certainly fun enough for fans of the flick. (And yes, Mr. Bousman drops a few mentions about an “uncut edition.”)

The rest of the extra goodies come in featurette form: Jigsaw’s Game is a 3-minute piece of pre-release-ish teaser puff. Under the heading “The Traps of Jigsaw” you’ll find four on-set/interview segments that focus on The Head Trap (4:19), The Needle Pit (8:29), The Hand Trap (2:42), and The Furnace (3:54). Pretty nifty to see how the nastier stuff was pulled off, but there’s nothing too exciting here.

Bits & Pieces: The Props of Jigsaw (4:26) covers some of the more random traps, tricks, and nasty treats.

Under the “Storyboard to Screen” heading you’ll find a quartet of scenes from the flick, as compared to the early storyboard layouts: Death Mask (3:39), The Furnace (3:23), Needle in a Haystack (2:43), and Jigsaw’s Lair (1:45). There’s also a conceptual art gallery that consists of 19 pieces of production art.

Attached to the main menu screen you’ll find a dedication to producer Gregg Hoffman, who died way too young at the age of 42. Here Darren Bousman contributes a memorial letter to his friend and collaborator.

Rounding out the goodie bag is a collection of trailers for Saw II, the Saw Uncut Edition, Three…Extremes, an Audition Special Edition, Tamara, and Ultimate Avengers: The Movie.

Final Thoughts

I’ve read and respected several unflattering opinions on both Saw movies, and I can readily acknowledge both of the films’ flaws, but they absolutely work for me, warts and all. Therefore, I’ve absolutely no problem recommending this sequel to those who adored the first entry, or anyone else just looking for a cold blast of unfiltered horror nastiness. Plus the fact that this sequel doesn’t simply “suck” is reason enough for celebration. That it’s actually pretty damn entertaining is, to be honest, only one of the most enjoyable shocks.

DVD-wise, Saw 2 works, with a freaky main feature, a solid yack-track, and a small handful of worthwhile featurettes … but if you’re the sort of gorehound who loves Saw 2 enough to buy the DVD, you’re probably the sort who’s planning to wait for the late-year Special Edition release. This package should hold you over until the SE hits, at which point you can eBay the thing.

(Some of the material you just read comes from my theatrical release review of Saw 2 at eFilmCritic. Lazy me, right?)
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