By Lisa Zlotnick

I distinctly remember writing the review for

The Matrix Reloaded

months
ago on

Cinema Confidential

and I must admit that most of what I said
before still stands true. For those of you who didn’t see my review on

Cinema Confidential

months ago, I’ll be giving you a taste of my
thoughts back then and thoughts of the DVD special features that are included
in this feature.

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Granted with the DVD comes a nice selection of special features that keep viewers
entertained but most of it is just a huge slap on their own backs saying “Wow,
we did it!” While the bar for this film is significantly high, previously
set by the first

Matrix

release, this sequel fails to live up to the
expectations set forth by the former.

The second film in the Matrix trilogy titled,

The Matrix Reloaded

brings
back Neo (Keanu Reeves), Trinity (Carrie-Ann Moss) and Morpheus (Laurence Fishburne)
for another round of fighting the war with the machines. Neo assumes expert
control of his powers as Zion is at danger with the Machine Army. There are
only hours left before the destruction of the last human enclave but all of
Zion is emboldened by Morpheus’ statements that The One (Neo) will fulfill
the Oracle’s prophecy and end the war.

After the opening sequence we soon see the empire that Neo, Trinity, and Morpheus
call “home.” Zion is an extravagantly large cave-like structure
with hundreds of floors and people milling about. When I first saw this, I thought
“This isn’t Neo’s home.” A few months prior, Thomas
(Neo) Anderson struggled to face the truth and free his mind from the Matrix.
Now, his home is a

Star Wars

empire? They must have worked very fast
to construct this one.

Not long after the trio returns home, amidst an extensively elaborate erotica-techno
party, Morpheus preaches to all of those who inhabit Zion that Neo (the one)
will indeed stop the war. But where is “the one” during this speech?
That’s right – he and Trinity stepped away from the party for a
little action of their own. What does Hollywood say? Oh yes. Sex, action and
a great spectacle sells. Well here you go. In the first 20 minutes you have
a Hollywood blockbuster on your hands. It’s funny, but why are we watching
the civilians of Zion in a group orgy when their world is in danger?

One scene in particular that I enjoy watching over and over is the exceptionally
well-choreographed scene that places Neo in a playground with Agent Smith, Agent
Smith….oh, and Agent Smith. Soon, there are hundreds of Agent Smith’s
and Neo battles them all, flinging himself from corner to corner, defeating
anyone who challenges him. Even though I think this sequence is absolutely fabulous,
I don’t understand why he doesn’t just fly off from the beginning
of the fight. Did I forget to mention that our Neo is now Superman too?

Enough of the sarcasm, let’s move onto the special features that this
DVD has in store. The entire disc two is filled with some exciting and hysterical
special features. The first one is called “Preload.” Basically this
feature has Keanu Reeves saying that

The Matrix

films are the best work
in his creative life. All I can say to that is “whoa.” Carrie discusses
how intense Keanu was with the training for this film and in the funniest part
of this feature, we see Keanu latch out a few of his moves for the camera. He
was describing his fight with the multiple Agent Smiths and he whips out 20
moves in a row to show the interviewer an example whilst sitting down and fighting
no one. Watch out for him losing balance with his one leg high in the air. Poor
Keanu, he just looks like an idiot. Regardless of how funny Keanu looks, this
feature is certainly worth watching to take a look at sets, the fight choreography
and how they consider

The Matrix

to have risen the bar so high that there
is no bar. I dig this.

Next up is a feature called “

Matrix

Unfolds.” Joel Silver
opens this feature discussing how him and the Wachowski Brothers went to Japan
for a press junket in 1999 and met up with a few anime directors. This was the
beginning of the whole

Animatrix

project and the start of the images
for the video game.

“Freeway Chase” is an extensive look at the making of one of the
most incredible car chases I’ve ever seen. They say that this scene was
so easy to do because of its existence within the matrix. Therefore, it gives
them more leeway to do some more unbelievable stunts than if it were based in
a more realistic setting. Carrie talks about her motorcycle training and says
that she just didn’t want to die. They also discuss how they were supposed
to shoot the highway sequence in Akron, Ohio before they came to California
and built their own. This is a very informative feature and an exciting one
that takes you into the process of creating such a complicated and wildly choreographed
scene.

When it comes down to it, even though I wasn’t too thrilled with

The
Matrix Reloaded

, I feel that this DVD is definitely a staple for an avid
fan of the films. The special features are entertaining and even though Keanu
isn’t all that suave in the interviews, we still love seeing him play
a bad-ass on film. My final thoughts: Not as good as the first but definitely
worth a purchase.

Other
Stories in spite of

10/14/03

"The Matrix Reloaded" isn't as cardinal as the gold medal film but shells out an but DVD

Val Waxman (Woody Allen) is a neurotic, once-ardent film director who desperately needs a comeback conduit to flinch-start his fizzled career. But when time for ever knocks, it’s his ex-wife Ellie (Tea Leoni) - with Hal (Treat Williams) the handsome, in the chips studio head she dumped him in support of - at the door! She is championing him against the entire team at Galaxie Studios to focus a screenplay she has acquired, The City The Never Sleeps. It’s perfect for Val, a chains who adores and knows Rejuvenated York. Does he take the film, or give up his last bullet at forwarding his calling and sidestep a painful reconnect. Is Val’s momentary blindness caused by love when he does it? Is have a passion heedless when it comes to Ellie’s staunch promote? Closely and figuratively, the confirmation is in the picture.

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Have you ever wondered what would happen if you ‘tried this at home’ after hearing one of those warnings that people give before doing something really stupid? Well, Jackass explores all the possibilities for you and now the whole series is finally available on DVD! While Jackass Volume II and Volume III were released a couple of years ago, Volume I is new (explain that logic) and now available separately for those who have the earlier discs or in a fancy-schmancy boxed set that comes with a fourth disc of bonus material (but more on that later).

Almost like a series of short mondo films gone wrong, this MTV spawned reality show features a series of professional skateboarders, BMX riders, and frat boy type punks who essentially push not only the limits of the human body but also the limits of good taste. Originally thought of as a series of videos for a skateboard magazine called Big Brother, the show focused on Johnny Knoxville (now a Hollywood star, who knew?) and CKY alumni Bam Margera and Ryan Dunn as well as fellow skate thugs Chris Pontius, Wee-Man, and of course, Steve-O as they demonstrate all sorts of things that you should never, ever attempt yourself. The results are often times stupid, usually quite crass, always gross, and endlessly amusing.

It would be pointless and monotonous to list out every stunt included in the hours of material assembled for the set, but some of the highlights (or, low points, depending on your point of view) include…

Johnny Knoxville testing his new athletic cup by allowing himself to be hit in the nut sack with a sledgehammer or an eight-ball dropped off the top of a building. To top it all off, he allows some of his cohorts to shoot him in the groin point blank with a paintball gun. Steve-O pierces his ass cheeks together because he’s ‘tired of pooping all the time.’ None of this is left to the imagination, it’s all shown in all of its gory glory and the results are as disgusting as you’d expect them to be.

Chris Pontius, as Party Boy, heads into some electronics shops to test out a CD on some gear to get a feel for how it sounds. Once the music hits him and the mood is right, he rips off his tear-away pants and dances around the showroom floor in his silver stripper underpants and a bow tie in one of the funniest things ever caught on camera. Clad in a Santa suit, Knoxville heads into a Karate school and tries to spar with the students there training only to be removed quite forcefully. Later on, still in the Santa suit, he heads into a strange looking ‘medical office’ to have his colon cleaned out – never once taking off the beard or the hat.

You want more? Good, cause it’s all here. Knoxville sticks his hand inside a cow. Pontius wrestles some alligators. Knoxville wanders around a beach in a suit with forty pounds of squid attached to it. Steve-O swallows a goldfish and then pukes it back up into a fishbowl, the fish still swimming around, much to the delight of a possibly homeless man wandering around the alley where the bit is shot. Bam Margera and Ryan Dunn wake up Bam’s father Phil by playing a live metal concert for him at 2am, right there in the comfort of his own bedroom with amps and a drum kit, way before he got famous on his own with Viva La Bam. Preston Lacy and Wee Man chase each other around a busy downtown street in nothing but very revealing ‘tighty whities’ while onlookers simply shake their heads in confusion. This stunt is repeated a few times in different locations, and it never gets old.

Then there’s the vomit factor! Not only does Lacy take on an egg eating challenge, resulting in Caligula-esque results but later in the series they repeat the stunt, this time with a holiday flare, by downing fifty shots of eggnog in an hour. In another bit, one of the guys eats a bunch of vegetables, pukes then into a bowl, then cooks it into an omlette and eat it again.

In between all of this are sections of skateboard stunts, bike stunts (Tony Hawk shows up to do a loop ramp into a lake wearing a chicken suit), big wheel racing, more skateboard stunts, and even some urban kayaking in which one of the guys maneuvers a full size kayak down a city water fountain and into a community square type area.

We get to see Ryan Dunn scuba dive into a sewage treatment plant, then later try to jump his BMX over a pungent looking creek only to get busted by the fuzz. The boys rig up a giant human sized sling shot that they use to propel one another into a festering, algae covered pond. Knoxville gargles leeches. Steve-O roams the streets in an Uncle Sam suit on stilts, falling at convenient times to catch the attention of as many people as possible. Another repeating skit is the ‘father and baby’ bits where one of the members of the troupe will use a lifelike doll and recklessly endanger it in front of large groups by doing things like crashing his bike or putting the baby carrier on top of the car and driving off. The results get pretty interesting when people who believe it to be real understandably go after them and try to help the poor, endangered, and completely inanimate little kid. Is any of it in good taste? No, not at all, but it’s funny.

Jackass is quite simply the stupidest shows ever seen made but in all honesty, it’s almost impossible to turn it off once you get started. A large part of the fascination with the series stems from wanting to know how the participants will top themselves and to see just how far they will go with their ideas and their stunts.

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The controversy surrounding the show is well earned, as it leaves very little to the imagination, only optically fogging out frontal nudity and sometimes bleeped (and sometimes not) expletives. Pretty much everything else is fair game, and the camera tends to linger on such freakish ugliness far longer than it probably should. Wounds are zoomed in on, bruises are shown off, and puke is shown in plain detail, chunks and all. Whether or not you find all of this funny is debatable but there are moments in here that are pretty much guaranteed to make anyone laugh. Sometimes a few of the bits go on too long, like Steve-O on the stilts, but most of the bits are fine and don’t wear out their welcome.

With the success of Jackass spin-offs like Wild Boyz and Viva La Bam it’s fun to go back and see where it all really started to come together for these guys. While many of them have moved on to bigger though not necessarily better things, this material remains hilarious and gross and it’s great to finally have it all on DVD to enjoy time and time again.

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Reviewed by Dennis Schwartz

The only film directed by the actor Paul Frees (voice in Rocky &
Bullwinkle) is a shrill take on small-time thugs here mistakenly called
beatniks (the film has no actual beatniks, but a lot of punks). It’s one
of those “troubled teen” exploitation dramas from the late 1950s that remains
bad no matter how you might try to excuse it. The acting is atrocious,
the music is unbearable and the screenplay written bt Frees and Arthur
Julian is hard to stomach. All the characters are either nasty, obnoxious
or unreal. Take your pick, but not one of them is worth caring a lick about.

Gang leader Eddy Crane (Tony Travis), his girlfriend Iris (Karen
Kadler), the psychopathic Bob “Mooney” Moon (Peter Breck), Chuck (Bob Wells)
and Red (Sam Edwards) terrorize their suburban California community with
armed robberies while wearing rubber masks. In the opening scene they rob
a convenience store they love to knock over every few weeks and after making
their getaway in Iris’s car end up in the diner owned by Iris’s mom Nadine
(Martha Wentworth). The punks bang into the polite and kindhearted LA talent
agent Harry Bayliss’s (Charles Delaney) disabled car and laugh it up over
their tough guy antics inside the diner, as Iris gets Eddy to sing (a dreadful
love ballad he lip-syncs). Bayliss is impressed with his voice and invites
the obnoxious Eddy to come to his office for an audition for a TV program.
Eddy gets the job and Helen (Joyce Terry), Bayliss’s secretary, arranges
for a hotel room for Eddy and the gang to stay in town. Before you know
it Eddy and Helen are lovebirds, and his future suddenly looks bright.
But the gang wouldn’t let Eddy break from them and he’s stuck with them
even after his successful TV appearance. After a night of boozing and partying,
Mooney fatally shoots the bartender Gus and the group goes on the lam.
But Eddy decides to keep his date with the recording session and it leads
to a confrontation with a crazed Mooney, as the police close in and arrest
both–shattering the aspiring singer’s dreams.

Endowment evaluator at an all-male boarding school, John Baker (Haas) is impaired pressure from his ambitious dad, but feels gnawing restlessness at the prospect of another period of time. But while he can’t wait to save his spark of life to upon, dissolute twenty-something Patty Vare (Ryder) probably wishes she could rewind hers a trifling. It’s the morning after the tenebrosity before, the the gendarmes are at the door talking about a stolen wheels, and she may already have reached the wreckage step herself. Horse-riding provides a few hours’ distraction, but a fall leaves her prone on the ground and, soon, an unwitting, forbidden guest in John’s dorm. From such circumstances springs a hesitant if unlikely attraction that fulfils a need in each, but which capability take up some explaining to the outside world. Writer/director Cochran is stronger on capturing the texture surrounding her characters’ converging experiences than making much of it when they do get together. Most top-hole is the qualifications detail at the boys’ boarding-school, where the unfolding demoiselle-in-the-room crisis hits a properly complex note of terror, excitement, uneasiness and yearning.

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Two terrifically appealing performers, William McNamara and Erika Eleniak, occupy the center of “Girl in the Cadillac,” an amiable, albeit slight and derivative, variation on the continuous theme of “Love on the Run.” Pic’s abundant charm and generous humanity, which triumph over out of keeping characterization and a pandering finale, will assist theatrical dissemination and support from young viewers.

Though loosely adapted from a Depression-era James M. Cain novella, “Girl in the Cadillac” owes more to such youth-angst pictures as “Rebel Without a Cause” and romantic road movies like “Bonnie and Clyde,”"Badlands” and, most recently, “Guncrazy.”

Amanda (Mandy) Baker (Eleniak) is a 17-year-old free spirit seeking an adventure that will liberate her from an unfulfilling life in the suffocating small town of Paint Rock, Texas. She lives with her mother, Tilly (Valerie Perrine), who out of her own desperation leaves Lamar (William Shockley), her thug of a b.f., and marries Ben (Ed Lauter), an older rich man who promises to provide a better life for her and Mandy.

At the bus station, setting out for Corpus Cristi, Mandy meets Rick Davis (McNamara), a handsome if somewhat arrogant cowboy who thinks he’s smart and sexy. Out of naive curiosity, Mandy lends him $ 17 for a one-way ticket to Utopia, a layover stop.

In Utopia, Rick introduces Mandy to his “Uncle” Pal (Michael Lerner), a failed crook, and Bud (Bud Cort), his weird sidekick. It doesn’t take long before Mandy is talked into participating in a bank robbery for a tidy sum of $ 5,000. When the heist turns into a fiasco, Rick and Mandy manage to escape with all the loot, but Pal and Bud follow in hot pursuit.

Pic’s central — and best — episodes are those describing the delirious couple on a shopping spree, checking in at a lush hotel, buying a red convertible Cadillac — living the good life.

Problem is that writer John Warren, who collaborated on the script of “Naked in New York,” lacks a clear conception of his characters and, worse, doesn’t know how to end his tale. As a “solution,” he conjures up a bunch of worn cliches that betray the intent of his narrative.

Indeed, Warren can’t decide how “bad” his protagonists are, even if it’s clear they are not the criminal type. Despite macho bravado and a dash of kleptomania, Rick is basically a good boy. Nor is the nature of the heroes’ rebellion or angst explained; what Rick and Mandy seem to enjoy most is buying fancy clothes and parading around in them.

Fortunately, script’s shortcomings are winningly camouflaged by helmer Lucas Platt, who makes an impressive feature debut after working on a number of documentaries with Jonathan Demme (”Cousin Bobby,”"Secrets From the Dolly Madison Room”).

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Keeping the movie lightweight, even when the writing is heavy-handed, Platt shows affection for his characters. He evinces taste and skill in staging the story’s varying incidents and in controlling the physical movement of his players, particularly McNamara.

Though looking older than 17, Eleniak acquits herself with a convincing performance — no minor achievement, considering her character begins as a modern-day Lolita and within days evolves into a responsible, mature woman.

Ultimately, though, the film’s revelation is McNamara, who looks and even acts a bit like Brad Pitt. Carrying off his cowboy role with physical exuberance and verbal charm, McNamara sparkles, keeping the movie afloat even in its weaker moments. McNamara and Eleniak were first paired in last year’s woeful “Chasers,” so this reps a major about-face for them.

Tech credits of low-budgeter are proficient on all levels, with lenser Nancy Schreiber in top form. Her impressive long shots convey the vastness of the land , so important in a road movie, and her sensuous camera contributes immeasurably to pic’s sexual allure.

Any time Disney releases a first histrionic special attraction, you can bet your bottom dollar (or any dollar you have handy) they’ll check out it up with a direct-to-video sequel. Oddly, it took them five years to provide “Kronk’s Latest Groove,” the 2005 obey-up to 2000’s “The Emperor’s Remodelled Groove,” one of their better vivacious films. But it’s not so coincidental, perhaps, that the new issue appears at take the same for the moment as the five-year anniversary edition of “Emperor.” Match most video sequels, “Kronk” doesn’t living up to its originator; if it did, it would have been shown in theaters. But it’s not the undamaged adversity it could have been, either.

Keep in mind my credo about a movie’s christen: If the studio can’t make up its reproach about it, the confusion will perhaps be reflected in the fade away. Well, this one is labeled on the keep an eye on case, the paper addition, and the disc itself as “Kronk’s New Groove.” How, the movie’s title screen labels it “The Emperor’s New Slot 2: Kronk’s Strange Groove.” Why Disney decided to drop away the first division of the title from its advertising is anybody’s conclude. You’d intend they would want to capitalize as much as thinkable on the popularity of the anything else film. They certainly do so in the consistency of the sequel, where the blue ribbon film is referenced distinct times, including ditty instance where the Emperor actually holds up a big sign over the extent of it.

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Anyway, the new film takes up where the older song fist misled. The setting is pre-Columbian Mesoamerica, and as the prologue puts it, “Long ago, somewhere deep in the jungle….(again).” That sets a tone towards what the filmmakers hope to be as unkind-edged an animated countenance as the premier blur was. They don’t succeed, despite that, because they chose as their lead this everything the least likely of the previous film’s characters, Kronk (Patrick Warburton), the noteworthy, dumb goon who cast-off to work for the treatment of the devilry sorceress Yzma (Eartha Kitt). He hasn’t got the sarcastic wordplay of Kuzco (David Spade) that made him if not a likeable leading man at least an interesting a woman. Kuzco and Pacha (John Goodman), the supportive peasant, reveal up in the fashionable movie, but they appear simply there to cure traffic in the product; they are scarcely in the story limit at all, except Pacha toward the conclusion of the film. Kuzco is as egotistical as at any time, and Pacha is as honeyed as in any case, almost as sweet as the reformed Kronk, but, as I nearly, they only just make an appearance.

That leaves Yzma to pretty much carry the show with her wicked ways, and she almost steals the fancy until she disappears in the help half. Which brings up another problem with the blear: It’s like two half-hour segments of a tube series strung together with a wrap-up at the end. In the leading half we learn that Kronk has resign his nefarious erstwhile and become a good guy, good being his “new slot,” opening his own pizza restaurant and making friends with everyone in metropolis. But Yzma lures him back to the dark side with a con play to earn money selling a phony elixir of life, a boy serum. Kronk needs the money because his found (John Mahoney) is coming to visit him, and his father thinks Kronk is married, with a family and a big house on a hill. Kronk desires urgently to please his father, and the money order go a long way toward fulfilling that end. The story with Yzma then comes to an early climax, and a new story begins, chestnut in which Kronk explains how he organize and extinct his girlfriend, Ms. Birdwell (Tracey Ullman), during a scouting competition. The two parts of the story just add up to a cohesive whole.