Remember how, a few weeks back, we here at SE&L warned you about getting a hobby and avoiding the weekly offerings posted by your favorite premium movie channel? Well, we hope you heeded said sage advice since the selections up for grabs this weekend are about as poor as the Republicans’ showing on election night (rimshot, if you please). From another chance to see how Hollywood views the South to incredibly bad kid vid, it’s a bad bet all around. Those who still believe that there is magic left in a certain Mr. Lucas’ slowly evaporating space operatics, will probably be pleased by the day long celebration of his fiscal fame on Cinemax. And believe it or not, a certain German director who is more than happy to put his boxing gloves where his talent isn’t, has a few demented defenders as well. But when it comes right down to it, unless you’re willing to wait until mid-week to see some stellar presentations on the lesser-known pay cable channels (read; IFC and Sundance), you’re stuck with some mighty mediocre fare. The flaccid foursome making your Saturday, 11 November night noxious are:
Ouch! Here’s a film so painfully pathetic that SE&L has a hard time even THINKING about it, let alone discussing it. Marketed to make money by trading on Johnny Knoxville’s Jackass fanbase, as well as Jessica Simpson’s dumbass personality, the end result was a one note novelty that proved the potential of the adolescent male demographic to show up for almost anything. Following this formula, it won’t be long before someone supes up Nanny and the Professor with the Pussycat Dolls as a determined group of barely dressed babysitters, and Bam Margera as the lonely widower teacher desperate for help raising his wee ones. Now just add Li’l Jon as the nutty next-door neighbor and you’ve got another hap-Hazzard style payday. After soiling Cinemax, it’s now HBO’s turn. (Premieres Saturday 11 November, 8:00pm EST).
Apparently, Cinemax has stumbled over to the dark side of the filmic Force, joining up with that money-grubbing maniac George Lucas in the continual raping of the entire Star Wars legacy. Not only will the channel by showing all SIX of the Wars films, in order, in HD, for the first time ever, but they are apparently featuring the “Special Edition” versions of the original trilogy, confirming that, when it comes to cinema, commerce supplants before art every time. If you love the latest prequels in all their hideous Hayden Christensen hackwork, by all means, break out your simulated light saber, a package of sugar-coated midichloreans and your Chewbacca underoos and settle in for some lame sci-fi escapism. A long time ago in a galaxy far, far away, Star Wars made some movie magic. Now, its creator is just concerned with merchandising this mythology to death. (Saturday 11 November, 10:00pm EST).
How does an independent film company without its own animation department compete with the studio big boys in the ultra-competitive (and costly) world of computer generated junk? Why, you import a sappy French revamp of a British kiddie ‘classic’, re-dub most of the voices to maximize the mandatory stunt casting conceit of the genre, and fool the wee ones into thinking its another Shrek sequel. This mediocre mumbo jumbo about magical diamonds that can freeze the sun and a dog-led gang of heroes hoping to thwart evil is so faux hip, so wannabe cool that it collides with its own pointlessness to create a black hole sized void of ineptitude. It is possible that some of the more mentally challenged members of the intended demographic could look at this lousy CG cartoon and find something to celebrate, but with so many superior efforts available elsewhere, why even bother? (Premieres Saturday 11 November, 9:00pm EST).
Dr. Uwe Boll may be able to kick some online film critic buttocks, but he is still incapable of making a professional grade film. Part of the problem is that he continually focuses his careless cinematic efforts on adaptations of subpar video games. The other reason, however, is that Boll is basically inept when it comes to putting a narrative together. This scattered, slipshod attempt to fiddle with the vampire mythos contains nothing but lame action sequences, non-existent characterization, and enough disinterested acting nods (from Ben Kingsley, Billy Zane and Michael Madsen, specifically) to guarantee a bad time at the movies. Then Boll works his own Teutonic talentlessness on the entire process, and what was merely a bomb becomes an abomination. Making House of the Dead look decent is a hard feat to accomplish. BloodRayne manages to do that…and not much else. (Saturday 11 November, 9:15pm EST)
The Cream of the Crop
In honor of IFC’s month-long celebration of Janus Films, SE&L will skip the standard daily overview of what’s on the other movie-based cable outlets and, instead, focus solely on what it and the Sundance Channel have to offer. Beyond that premise, however, we will still only concentrate on the best of the best, the most inspiring of the inspiring, the most meaningful of the…well, you get the idea. For the week of 11, November, here are our royal recommendations:IFC
: Every Tuesday in November is Janus Films night. For the 14th, the selections are:
The White Sheik
Before he was the master of the absurd, Fellini was creating, warm, witty fables like this one, revolving around a newlywed, her honeymoon, and the actor she idolizes.
Mr. Hulot’s Holiday
Combining slapstick with satire, French film legend Jacques Tati created the classic title character for this unflinching comedic look at how the leisure class lives.
Loves of a Blond
As part of the “Czech New Wave” future Oscar winner Milos Forman came to the attention of the West with this wonderful ensemble comedy.
11 November - Fahrenheit 451
Though somewhat flawed, François Truffaut’s adaptation of Ray Bradbury’s topical sci-fi novel still has plenty of prescient bite.
13 November - Pink Flamingos
The film that turned director John Waters into a Midnight Movie icon, this masterpiece of contemporary cynicism is just as joyfully jaded 34 years later.
14 November - Brazil
Mired in studio politics and misunderstood upon its initial release, Terry Gilliam’s future shock send-up is today one of the director’s most beloved and brave works.
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