Hack Attack

Attack of the ClonesIt’s true that “Star Wars Episode II: Attack of the Clones” is superior to its immediate predecessor, but it’s still not much of a movie.

Lucas, while stubborn as ever in his refusal to completely excise Jar Jar Binks, has nevertheless acquiesced to fan pressure by creating 132 minutes of the stuff that fans have been dying to see for two-plus decades: massive lightsaber battles, the secret origin of Boba Fett (which is a truly superfluous subplot), the inner workings of the Jedi Council, the corruption of Anakin Skywalker, and, most tellingly, one climactic scene in which Yoda kicks ass.

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Fan Wars

Atom Films is hosting a competition for fan-made films paying tribute to the Star Wars franchise, many of which are actually quite funny. The whole affair is sponsored by Lucasfilms and being judged by George Lucas himself. The New York Times has a slightly unfair article about Lucasfilms’ disqualification of any film from the competition that didn’t conform to its strict rule allowing ‘spoofs and documentaries only.’ In it, Jim Ward, V.P. of marketing at Lucasfilm utters this amazingly anti-fan comment: “…If in fact somebody is using our characters to create a story unto itself, that’s not in the spirit of what we think fandom is about. Fandom is about celebrating the story the way it is.” In other words: watch, listen and obey.

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French New York

The French ConnectionLately I’ve been on a New York-on-film kick, inspired by James Sanders’ “Celluloid Skyline,” a hefty survey of Gotham’s cinematic history. Last week I watched “The Taking of Pelham One Two Three,” which may not hold up as a thrill ride, but it has a certain documentarian charm. Then yesterday I rented “The French Connection.” The last time I watched it I think I was twelve and it had been clumsily butchered up for the Saturday afternoon matinee on Channel 20. Its gritty details went right over my head but I remembered being floored by its brutal, epic sweep. That same feeling hit me with an exponential force this time, crystallized by the pristine DVD print, the ferocity of Gene Hackman’s performance, the gorgeously uncompromising cinematography, and William Friedkin’s pitch-perfect storytelling.

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Panic Club

Panic RoomLast night I went to see David Fincher’s new movie, “Panic Room,” which is no “Fight Club,” for better or worse. Actually, it’s a tautly made thriller, enjoyable if unambitious. But what made the trek all the way up to the hellish Times Square area worth it was a single scene halfway through, when Fincher turns the movie virtually silent — and the opening weekend crowd that I saw it with went completely wild, hooting, hollering, screaming at the screen. It’s the kind of rare, visceral, communal moviegoing experience that few directors can achieve, and it was spectacular.

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Oscariffic

OscarIt’d be hard to describe how distasteful I find the Oscars. The funniest thing I heard this Oscar season was that, in spite of all the unusually vociferous bad blood that preceded last night’s show, the most important thing was ‘to preserve Oscar’s integrity.’ Ha! All the same, I was pleased to hear that Denzel Washington and Halle Berry won big last night.

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Pixar’s Star

PixarJohn Lasseter, Creative Executive VP for Pixar Inc. and director of the “Toy Story” movies, is on a publicity tour, talking up the chances for “Monsters Inc.” to win an Academy Award next month. He’s due to appear on NPR’s “Fresh Air” this evening. I heard him yesterday on WNYC’s “New York & Company,” when he said something really interesting. At the outset of every movie, there’s always some large piece of the story that they have no idea how to accomplish, some creative challenge that has no clear technological solution. Their approach is to back themselves into a corner and innovate through it. I like that aggressiveness, that willingness to create circumstances that demand innovation.

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