Director Plays Own 'Reindeer Games'

<P><A HREF="/sh/entertainment/atthemovies/tims-bio.html"><IMG SRC="/sh/images/editorial/tim_lammers.jpg" ALIGN="LEFT" WIDTH="120" HEIGHT="90" BORDER="0"></A> With the accessibility to movies made even greater by the surge in popularity of DVDs, more directors are taking advantage of the medium to get their original visions to the masses. Legendary director John Frankenheimer is the latest to bring his vision to the fold with the new director's cut of "<A HREF="http://www.reindeergames-themovie.com">Reindeer Games</A>" -- a film with a holiday title that's hardly meant for the season.<p /><P><IMG SRC="http://images.ibsys.com/2000/1208/197481.jpg" WIDTH="200" HEIGHT="150" ALT="John Frankenheimer" ALIGN="RIGHT" HSPACE="10" VSPACE="5" BORDER="0">"This is the version that I thought was the best version of the film before it was ever previewed," Frankenheimer told me in a recent interview. "It represented my take on it as far as the violence and sex -- it's a much harder movie than the one that was deemed more commercially viable after the theatrical previews."<p /><P>In the film, Ben Affleck plays Rudy, an ex-con looking to start a new life with Ashley (Charlize Theron), his murdered cellmate Nick's (James Frain) prison pen pal. The problem is, Rudy has assumed Nick's identity, and he's forced to participate in a dangerous casino heist that was planned by Ashley's brother (Gary Sinise) with Nick in mind.<p /><P>While there's plenty of action in "Reindeer Games," Frankenheimer is hard-pressed to call it an action film. But no matter the material that Frankenheimer takes on, he gives it a spin from his perspective, which ultimately, prevents it from being defined as any specific film genre.<p /><P>"I thought this was really a character-driven suspense picture," Frankenheimer said. "A film to me in the story, it's the all to me in script, then you have to find a visual approach to the film. I don't want my movies to look like any other movie, nor do I want my movies to look like music videos. I want them to have a definite look to the film -- a sort of gritty-looking, realistic look. I call it 'hyper-realism,' and I think this picture has that."<p /><P><IMG SRC="http://images.ibsys.com/2000/1208/197485.jpg" WIDTH="200" HEIGHT="150" ALT="Frankenheimer, Theron and Affleck on the set of Reindeer Games" ALIGN="LEFT" HSPACE="10" VSPACE="5" BORDER="0">Frankenheimer, of course, is responsible for such classics as "The Manchurian Candidate," "Black Sunday" and "The French Connection II," and for more recent hits like cable's "George Wallace" (featuring "Reindeer" star Sinise) and the feature film "Ronin." And while the 70-year-old director has smoothly made the transitions necessary to keep himself viable in the filmmaking business over the years, he does admit that it's a ongoing challenge to visually stimulate the audience -- in particular, the MTV generation.<p /><P>"We're all aware of MTV and the impact it's had on the moviegoing public and the impact it's had on the young people," Frankenheimer said. "They are used to constant changes of visual images on the screen, and there are very few visual surprises to these people anymore. You don't have the advantages like Orson Welles and Alfred Hitchcock had where you could really shock people that much, because they are so shock-proof."<p /><P>While it wasn't "music television" per se, Frankenheimer oddly enough started his career directing television. He debut came with the 1950 series "Danger!," and his film career at the helm began in 1957 with two films, "The Young Stranger" and "The Comedian."<p /><H3>New In Theaters</H3> <B>'Proof Of Life' (R)</B> <IMG SRC="/sh/entertainment/images/videovault/popcorn.gif" WIDTH=20 HEIGHT=20 BORDER=0 ALIGN="TOP" ALT="Popcorn"><IMG SRC="/sh/entertainment/images/videovault/popcorn.gif" WIDTH=20 HEIGHT=20 BORDER=0 ALIGN="TOP" ALT="Popcorn"><IMG SRC="/sh/entertainment/images/videovault/popcorn.gif" WIDTH=20 HEIGHT=20 BORDER=0 ALIGN="TOP" ALT="Popcorn"> <P><IMG SRC="http://images.ibsys.com/2000/1207/196556.jpg" WIDTH="120" HEIGHT="90" ALT="Russell Crowe in Proof Of Life" ALIGN="LEFT" HSPACE="10" VSPACE="5" BORDER="0">There's plenty of action to keep "<A HREF="http://www.proofoflife.com">Proof of Life</A>" engrossing, but it's of the running-and-shooting (not touching-and-smooching) variety. The rumors ran rampant during the shooting of "Proof" about co-stars Russell Crowe's and Meg Ryan's budding relationship, but for those headed to the theater to see smoldering intensity between the two, be advised that romance is kept to a minimum. That's quite all right, though, because "Proof Of Life" is a taut thriller, well told and superbly acted.<p /><P>Based on a 1998 Vanity Fair article, "Proof of Life" (referring to the requirement on the part of the kidnapper to prove that the hostage is alive) profiles the very real international "business" of kidnapping wealthy executives for huge ransoms. Hot on the heels of his summer success in "Gladiator," Aussie actor Crowe stars as kidnap and ransom (K &#38; R) negotiator Terry Thorne. The story focuses on American couple Peter and Alice Bowman (David Morse and Meg Ryan), who are living in South America, where Peter is working as an engineer. When rebels kidnap Peter, Alice looks to Terry for help. Terry takes pity on Alice after discovering that Peter's Houston-based employer has canceled its kidnapping insurance policy and cannot provide the ransom money. He decides to take her case out of the goodness of his heart, with the help of fellow negotiator Dino (David Caruso).<p /><P>Shot mainly in Ecuador, the cinematography is stunning, beautifully contrasting with the ugliness of hostage taking and the horrible pain that captives are forced to endure. The film is also about the endurance of relationships during a crisis. The Bowmans have a cracked marriage before the kidnapping, and it's unsure whether the ordeal will finally break them or bring them closer together. "Proof of Life" thrills from beginning to end, and compels the viewer to learn more about the mysterious and disturbing industry of kidnap and ransom.--<I><A href="mailto:sellis@globaltv.com">Suzanne Ellis</A></I> <P> <P><A NAME="Vertical"> <B>'Vertical Limit' (PG-13)</B> <IMG SRC="/sh/entertainment/images/videovault/popcorn.gif" WIDTH=20 HEIGHT=20 BORDER=0 ALIGN="TOP" ALT="Popcorn"><IMG SRC="/sh/entertainment/images/videovault/popcorn.gif" WIDTH=20 HEIGHT=20 BORDER=0 ALIGN="TOP" ALT="Popcorn"> <P><IMG SRC="http://images.ibsys.com/2000/1207/196557.jpg" WIDTH="120" HEIGHT="90" ALT="Scott Glenn in Vertical Limit" ALIGN="LEFT" HSPACE="10" VSPACE="5" BORDER="0">The challenge and inherent danger of mountain climbing should be enough to make an exciting action film. Nope, say the makers of "<A HREF="http://www.spe.sony.com/movies/verticallimit">Vertical Limit</A>," we'd better add some explosions, maybe an evil businessman, and hey, let's throw in a dash of family tragedy.<p /><P>It's too bad, really, because the best scenes in "Vertical Limit" are (of course) the climbing scenes. Action-packed, suspenseful and eye-popping, "Vertical Limit" centers on brother and sister Peter and Annie Garrett (Chris O'Donnell and Robin Tunney), torn apart after their father perishes before their eyes in a climbing accident. Annie has continued climbing to "be close" to their dad, but Peter has kept his feet on solid ground as a nature photographer. They reunite when by chance they're both in Pakistan working. Peter is photographing snow leopards; Annie is preparing to accompany wealthy tycoon Elliot Vaughn (Bill Paxton) on a "commercial" climb up K2 to coincide with the first flight of Vaughn's new company, Majestic Airlines. When the climb goes horribly awry, Peter must climb again to save his sister's life, with the help of grizzled mountain man Montgomery Wick (Scott Glenn).<p /><P>Directed by Martin Campbell ("Goldeneye," "The Mask of Zorro") "Vertical Limit" passes with flying colors when it comes to exciting action and suspense, but fails miserably in its flat characters and ridiculous plot developments. The funniest example is the character of French-Canadian medic Monique (Izabella Scorupco), an inexperienced climber who suddenly develops superhuman strength, able to hang on to a sheer cliff with one arm and no support rope. Uh huh. Anyway, as you're watching the suspended climbers, make sure that you've suspended all disbelief. Then sit back and enjoy the scenery. --<I><A href="mailto:sellis@globaltv.com">Suzanne Ellis</A></I> <P> <P><A NAME="contest"> <B>Contest:</B><A HREF="/sh/entertainment/stories/entertainment-20001212-143931.html">Win 'X-Files' Or 'X-Men' For X-Mas</A>.<p /><H3>New On Video This Week</H3> <B>'Scary Movie' (R)</B> <P><IMG SRC="http://images.ibsys.com/2000/1213/202745.jpg" WIDTH="120" HEIGHT="90" ALT="Scary Movie" ALIGN="LEFT" HSPACE="10" VSPACE="5" BORDER="0">Following in the footsteps of "There's Something About Mary," the Wayans brothers' comedy spoof, "<A HREF="http://video.go.com/scarymovie/html/index.html">Scary Movie</A>" was a high "grossing" movie in more ways than one. In addition to killings on screen, of course, it made a killing at the box office &#150; and is sure to kill your appetite on home video. Keenan Ivory Wayans directs and younger brothers Marlon and Shawn co-star (along with several others, including Cheri Oteri, Carmen Electra, Shannon Elisabeth, Lochlyn Munro, Anna Faris and Regina Hall) in this fright flick send-up, which mostly takes stabs at the "Scream" trilogy -- but also picks on "The Blair Witch Project" and several other brainless-teenagers-in-peril slasher thrillers. A scantily clad Electra gets the ball rolling with a take-off of Drew Barrymore's scene in the first "Scream," and follows with a string of parodies of other such infamous scenes, such as the runny nose (this time Oteri was "picked" for the role) that dripped into the consciousness of filmgoers of "The Blair Witch Project."<p /><P>With its gross-out moments restricted by no boundaries (look out for crude sex gags galore, complete with phallic images and body fluids), "Scary Movie" is so extreme that it will likely earn a flat-out "love it" or "hate it" response from those brave to see it. And while parents might get the joke, be forewarned that this is <I>hardly</I> a film for children. Having first screened the film during its theatrical release, I witnessed at least a dozen parents in the company of their kids ages 5-8 (and under) &#150; and only two walked out when it became obvious to them that the material wasn't suitable to their tikes. Now <I>that's</I> scary. --<I><a href="mailto:tim@ibsys.com">Tim Lammers</a></I><p /><P><A NAME="Shaft"> <B>'Shaft' (R)</B> <P><IMG SRC="http://images.ibsys.com/2000/1213/202748.jpg" WIDTH="120" HEIGHT="90" ALT="Shaft" ALIGN="LEFT" HSPACE="10" VSPACE="5" BORDER="0">When it comes to the ABC's of great moviemaking, the latest chapter of the "<A HREF="http://www.shaft-themovie.com">Shaft</A>," series has it all covered: Star Samuel L. Jackson earns the movie its "A" for "Attitude" and filmmaker John Singleton smartly employs a "C" for making the plot "Character" driven. And what does the "B" stand for? "Bad Mother," of course.<p /><P>With the movie's original theme by Issac Hayes rolling over the opening credits, the film starts with detective John Shaft (Jackson) making the arrest of Walter Wade (Christian Bale), a spoiled rich kid who commits a racially motivated murder. With a witness to the crime (Toni Collette), Wade's conviction seems cut and dried -- until money and political corruption influence the case. Tired of the way justice is bought and sold, Shaft quits the force and decides to bring Wade to justice on his own terms.<p /><P>Inspired by the '70s films and TV series that made Richard Roundtree a screen icon, "Shaft" is not necessarily a remake, nor is it a sequel: It's a new beginning. But what's so refreshing about revisiting this particular slice of American pop culture is that Singleton chooses to make the new "Shaft" a hybrid of the past and present. Jackson, of course, stars in the title role, but instead of negating Roundtree's contribution to the role or writing him out or giving him a thankless cameo, Singleton smartly wrote the screen veteran in as the same John Shaft moviegoers embraced in the '70s, but this time as uncle and mentor to his namesake. Roundtree is reliable as expected because he defined the character, but it's Jackson who's under the most pressure &#150; and he delivers. Anybody who's seen "Pulp Fiction" already knows Jackson is the king of cool -- so his ability to pull this role off with such effortless ease shouldn't come as <I>too</I> big of a surprise. But just because his badness isn't something we didn't already know about doesn't mean it isn't fun to watch. Laugh out loud funny one minute and downright intimidating the next, Jackson's always magnetic -- and clearly the best choice for the "Shaft" for the new millennium. --<I><a href="mailto:tim@ibsys.com">Tim Lammers</a></I><p /><P><A NAME="DVD"> <H3>DVD Spotlight</H3> <B>'The Road To El Dorado' (PG) </B> <P><IMG SRC="http://images.ibsys.com/2000/1213/202739.jpg" WIDTH="120" HEIGHT="90" ALT="The Road To El Dorado" ALIGN="LEFT" HSPACE="10" VSPACE="5" BORDER="0">Backed by a smart script, colorful characters, creative animation and a wonderful narrative in the form of Elton John and Tim Rice's song contributions, "<A HREF="http://www.roadtoeldorado.com">The Road To El Dorado</A>," for the lack of better words, strikes gold. A comic romp that's essentially an ode to the Hope and Crosby "Road" movies, Kevin Kline and Kenneth Branagh voice Tulio and Miguel, a pair of con men who think they&#146;re on the path to fame and fortune when they win a map to El Dorado, the legendary city of gold. They soon discover that riches aren't the be all and end all, and their road suddenly leads to a path of moral dilemma.<p /><P>In a move that&#146;s sure to inspire a new direction in animation, directors Don Paul and Eric Bergeron had Kline and Branagh record their dialogue together -- and while that&#146;s an unusual move in the world of animation, the directors&#146; goal of creating a new kind of energy has no doubt paid off. Providing the right balance to Kline and Branagh was the brilliant strokes of animator Sylviane Burnet and her character team, in bringing to life a warhorse named Altivo, Tulio and Miguel's partner in crime. Without speaking one stitch of dialogue, the horse in all of his whimsical expression nearly steals the show. The only disappointing aspect of &#147;The Road To El Dorado&#148; is the extent the filmmakers took the romantic relationship between Tulio and Chel (Rosie Perez). While the film easily appeals to children and adults, the relationship is at times a bit <I>too</I> indiscreet. And in a film no doubt intended for a younger audience, the choice to include sexual innuendo was clearly misguided. Fortunately, the moments are brief.<p /><P><B>DVD Features:</B> Animation fans will no doubt be thrilled at the DVD's behind the scenes segment, which gives an in-depth look into the animator's process, including extensive footage featuring Kline, Branagh, John and executive producer Jeffrey Katzenberg (the "K" of Dreamworks SKG). Separately, it's a thrill to watch John's soundtrack video, "Someday Out of the Blue," a unique piece of work that finds John becoming animated himself (think back to him stepping into that "Goodbye Yellow Brick Road" album cover) and literally finds him within the framework of the animated film. John in particular loves it &#150; he candidly admits in the documentary that he's not a fan of acting in videos. In addition to a clever interactive storybook rendition of the story, the disc contains several DVD-ROM features aimed at kids (mazes, games, Aztec arts and crafts) and for the adults, a directors' commentary track. --<I><a href="mailto:tim@ibsys.com">Tim Lammers</a></I><p /><B>'Irving Berlin's White Christmas' (NR)</B> <P><IMG SRC="http://images.ibsys.com/2000/1208/197492.jpg" WIDTH="120" HEIGHT="90" ALT="White Christmas" ALIGN="LEFT" HSPACE="10" VSPACE="5" BORDER="0">While it's pretty much a standard practice for DVDs of new films to include interviews and commentary tracks, the inclusion of these particular features on classics like the debut of 1954's "<A HREF="http://www.paramount.com/homevideo/index.html">White Christmas</A>" in the format is an absolute necessity. That's because with stars Bing Crosby, Danny Kaye and Vera-Ellen gone, the film's only major living link, Rosemary Clooney, provides us with the unique insight that no one else could even come close to giving. And in this season of giving, the DVD of the Irving Berlin masterpiece not only serves as a time capsule of a great film, but a wonderful ode to a film era gone by. One only hopes that survivors of other such classics will take the cue and further their contribution to film history.<p /><P>Crosby and Kaye star as Bob Wallace and Phil Davis, a successful stage show act that teams with sisters Judy and Betty Haynes (Vera-Ellen and Clooney) to form a stage group. The group soon finds itself performing at a Vermont ski lodge owned by Wallace and Davis' former army general (Dean Jagger).<p /><P>It's a joy to watch the film with Clooney, in a sense, as she almost instantly laughs with bubbling memories during the film's commentary track. Often breaking out in song, she not only shares warm memories of Crosby, Kaye and Vera-Ellen and her own life during the film, but also talks about the genius of Berlin and remarks how the film touched her life personally in the ensuing years. Clooney is equally insightful on the interview portion of the disc, adding candid revelations about her famous co-stars. For one, she says, Kaye often tried to warm up to Crosby, who was standoffish to the comedic co-star -- surprising, considering the duo's brilliant chemistry on screen. --<I><a href="mailto:tim@ibsys.com">Tim Lammers</a></I><p /><P><I><B>Catch up with Tim on these recent @ The Movies interviews:</I></B> <UL> <LI><A HREF="/sh/entertainment/atthemovies/stories/atthemovies-20001121-181759.html">Carrie-Anne Moss ("Red Planet")</A> <LI><A HREF="/sh/entertainment/atthemovies/stories/atthemovies-20001106-151759.html">Mark Hamill ("Joseph: King of Dreams")</A> <LI><A HREF="/sh/entertainment/atthemovies/stories/atthemovies-20001013-131001.html">Christopher Guest ("Best in Show")</A> <LI><A HREF="/sh/entertainment/atthemovies/stories/atthemovies-20000914-174618.html">Sigourney Weaver ("A Map Of The World")</A> <LI><A HREF="/sh/entertainment/atthemovies/stories/atthemovies-20001005-112739.html">Sylvester Stallone ("Get Carter")</A> <LI><A HREF="/sh/entertainment/atthemovies/stories/atthemovies-20000922-023731.html">Bruce Campbell ("The Evil Dead" Trilogy)</A> <LI><A HREF="/sh/entertainment/atthemovies/stories/atthemovies-20001018-231132.html">Richard O'Brien ("The Rocky Horror Picture Show")</A> <LI><A HREF="/sh/entertainment/atthemovies/stories/atthemovies-20000928-190325.html">Edward Burns ("Stories From Long Island" Trilogy)</A> </UL><p /><B><I>More Movies:</I></B> <LI><A HREF="http://www.infospace.com//cinema/search.htm?searchtype=hs">Local Movie Times</A> <LI><A HREF="/sh/entertainment/atthemovies/archive.html">@ The Movies Archive</A><p /><P> <H5><CENTER>To have @ The Movies delivered right to your e-mail box for free, <A HREF="/news/email-newsletters.html">click here</A>.</H5></CENTER>