In the tradition of Batman Begins and Casino Royale the clock is rolled back on the legendary icons the D—the self-proclaimed greatest band in the world—as the curtain is pulled back on their secret origins and the demons that drive them are unveiled… OK so it’s not really that deep. Though the heavy metal/comedy combo of Jack/JB/”Jabeles” (Jack Black) and Kyle/KB/”Kage” (Kyle Gass) have long played hip clubs cut an album starred in their own short-lived HBO series and amassed a devoted cult of fans their first feature film reveals how the pudgy duo first meet form the band meet their first fan (Jason Reed as TV holdover Lee) go questing the fabled Pick of Destiny—a shard of Satan’s tooth turned into a guitar pick passed among rock’s most accomplished shredders—and ultimately smack down with the devil himself. Believe it or not it’s a love story. Thanks to their long professional partnership Black and Gass comprise two perfectly crafted sides of a very polished comedy coin: Black is the wild-eyed uncontrolled id Gass is the low-energy manipulative slacker and they meet in the middle with an equal amount of unchecked delusion about their musical ability and potential. They both deftly pull off the trickiest types of comedy: smart jokes in the guise of dumb characters and it’s nice to see Black—obviously the bigger film star of the two—share the funniest bits equally with Gass. Of course all of this hinges on the audience’s tolerance for the ambitiously clueless ego-cases (and moviegoers who only love Black for his tamer version of the same persona in School of Rock should be warned—this is the cruder ruder and more profane incarnation) but we admit we’ve long had a taste for the D. They boys carry they movie squarely on their shoulders though longtime D supporters Tim Robbins and Ben Stiller stand out in cameos—the first Stiller cameo in ages that’s both amusing and non-gratuitous! Also appearing in small bits: SNL’s Fred Armisen and Amy Poehler Oscar-nominee Amy Adams Colin Hanks hard rock hero Ronnie James Dio Foo Fighter Dave Grohl as Satan and an uncredited John C. Reilly though you’ll never ever recognize him when he’s onscreen. And kudos to whoever had the inspired notion to cast Meat Loaf as JB’s pious father and Troy Gentile as the young rockin’ JB (Gentile also played a junior version of Black in Nacho Libre). Helmer Liam Lynch who also collaborated on the screenplay with Black and Gass and directed their music video “Tribute ” understands the absurd world of the D completely and demonstrates a clever assured sense of straight-faced silliness. Indeed the first ten minutes of the film alone—a mini-rock opera in itself—announce him as a comedy director to watch. Although we’re sure the bandmates themselves would take full credit for the film’s success. After all they may not have made the greatest movie in the world but in D-speak they came up with a pretty rockin’ tribute version.
December 03, 2002 10:14am EST
Psychologist Chris Kelvin (George Clooney) is asked to investigate the strange behavior of a small group of scientists aboard a space station orbiting the planet Solaris. The expedition has stopped all communication with Earth and mission captain Gibarian (Ulrich Tukur) has committed suicide. Once on board the space station Kelvin discovers two surviving crewmembers who are suffering from extreme stress and paranoia brought on by studying the planetary body. He learns that Solaris can create physical personifications known as "visitors " which are drawn from the crew's subconscious memories. For Kelvin a "visitor" comes in the form of his wife Rheya (Natascha McElhone) who committed suicide years earlier. Soon enough he finds himself in the same nutty predicament as the crew and becomes fixated on the possibility he can change the events that lead to Rheya's death. The film based on Stanislaw Lem's 1961 novel of the same name is not so much a sci-fi pic as it is a futuristic romance. It's a slow-building story that raises many questions without ever answering them including the planet's motives.
While Clooney delivers a soulful performance as the worrisome Chris Kelvin it might have been more interesting to establish his character without spelling out his past. Kelvin's wife Rheya is supposed to be a character so dark that flowers practically die when she walks into a room. While McElhone's portrayal of Rheya is not bad her morbidity comes more from the character's back story than the actress's performance; Rheya is suicidal and has an abortion hence she is a sinister being. Viola Davis plays Helen Gordon one of the two surviving crewmembers on the space station. Good performance but her character is too inconsistent. At the start of the film for example she is holed up in her quarters and refuses to come out. In the next scene however she divulges everything she knows to Kelvin in a very logical and calm manner. What happened to the paranoia the extreme stress? Jeremy Davies is the second crewmember Snow (perhaps aptly named because he seems almost as though he's actually on coke). Doing his best Crispin Glover Davies is the most irritating thing about the movie.
Solaris was first adapted as a feature film by Russian director Andrei Tarkovsky in 1972 in a much longer and truer version of the book. Director/screenwriter Steven Soderbergh decided to delve deeper into Kelvin's relationship with his wife Rheya than necessary. Not a sci-fi director at heart Soderbergh whitewashes many of the book's technical details such as what constellation the space station is orbiting or anything pertinent about Solaris itself. He chooses instead to focus on Kelvin's troubled relationship with Rheya which is established through sappy flashbacks. But what goes on between the couple on the space station is much more compelling than their overly sentimentalized past. Because the new Rheya is created from Kelvin's mind her own memories are actually his; if he remembers they met on a train for example so will she. Eventually she begins to question her own existence and demands answers from Kelvin that he cannot provide. Soderbergh examines religious philosophical and spiritual issues in a not-so-subtle manner but leaves the film open to interpretation. Completely devoid of splashy special effects Soderbergh's Solaris is beautifully shot with a minimalist effect.