Baraka

A Clockwork Orange Stanley Kubrick Ultraviolent Masterpiece

"Stanley Kubrick's striking visual interpretation of Anthony Burgess's famous novel is a masterpiece. Malcolm McDowell delivers a clever, tongue-in-cheek performance as Alex, the leader of a quartet of droogs, a vicious group of young hoodlums who spend their nights stealing cars, fighting rival gangs, breaking into people's homes, and raping women. While other directors would simply exploit the violent elements of such a film without subtext, Kubrick maintains Burgess's dark, satirical social commentary. We watch Alex transform from a free-roaming miscreant into a convict used in a government experiment that attempts to reform criminals through an unorthodox new medical treatment. The catch, of course, is that this therapy may be nothing better than a quick cure-all for a society plagued by rampant crime. A Clockwork Orange works on many levels--visual, social, political, and sexual--and is one of the few films that hold up under repeated viewings. Kubrick not only presents colorfully arresting images, he also stylizes the film by utilizing classical music ( and Wendy Carlos's Electronic Music) to underscore the violent scenes, which even today are disturbing in their display of sheer nihilism. Ironically, many fans of the film have missed that point, sadly being entertained by its brutality rather than being repulsed by it." --Bryan Reesman

 Baraka

The word Baraka means "blessing" in several languages; watching this film, the viewer is blessed with a dazzling barrage of images that transcend language. Filmed in 24 countries and set to an ever-changing global soundtrack, the movie draws some surprising connections between various peoples and the spaces they inhabit, whether that space is a lonely mountaintop or a crowded cigarette factory. Some of these attempts at connection are more successful than others: for instance, an early sequence segues between the daily devotions of Tibetan monks, Orthodox Jews, and whirling dervishes, finding more similarity among these rituals than one might expect. And there are other amazing moments, as when sped-up footage of a busy Hong Kong intersection reveals a beautiful symmetry to urban life that could only be appreciated from the perspective of film. The lack of context is occasionally frustrating--not knowing where a section was filmed, or the meaning of the ritual taking place--and some of the transitions are puzzling. However, the DVD includes a short behind-the-scenes featurette in which cinematographer Ron Fricke (Koyaanisqatsi) explains that the effect was intentional: "It's not where you are that's important, it's what's there." And what's here, in Baraka, is a whole world summed up in 104 minutes. --Larisa Lomacky Moore

BETTER OFF DEAD

 Lane Myer (John Cusack) is stuck in a personal hell. A compulsive, adolescent Everyman growing up in Suburbia, USA, not only does he fail to make the prestigious high school ski team (again), but his beloved sweetheart, Beth, also leaves him for Roy, the team's popular, arrogant captain. If this isn't bad enough, he's stuck with a mother who frighteningly experiments--rather than cooks--with food, a brother who builds rockets out of models, and a best friend so desperate for drugs that he settles for snorting powdered snow. Faced with these prospects, Lane opts to end it all ... until he comes up with a ridiculous plan to gain acceptance and win Beth back. Director Savage Steve Holland warps this simple, clichéd premise, letting his wacky imagination twist it into a fairly original, slightly dark, and completely hilarious '80s teen comedy. Not as serious a "suicide-attempt" movie as, say, Harold and Maude but just as funny, the film's more a collection of screwball sketches than a narrative. Holland livens the high jinks with surrealistic fantasy touches, including Jell-O that crawls, a hamburger that sings Van Halen, drawings that mock its creator, Japanese race-car drivers who only speak Howard Cosell, and a psychotic paperboy seeking blood over a missing $2. Cusack puts the whole thing on his shoulders and carries the insanity with another one of his touching, obsessively romantic performances, which, along with Say Anything, The Sure Thing, and One Crazy Summer, made him the quintessential (and appealing) personification of lovestruck adolescence and suffering. --Dave McCoy

CLERKS 

If you're in the market for wildly funny entertainment, CLERKS delivers with wholesale hilarity! It's one wacky day in the life of a pair of overworked counter jockeys whose razor-sharp wit and on-the-job antics give a whole new meaning to customer service! Even while bracing a nonstop parade of unpredictable shoppers, the clerks manage to play hockey on the roof, visit a funeral home, and straighten out their offbeat love lives! The boss is nowhere in sight, so you can bet anything can -- and will -- happen when these guys are left to run the store.

Before Kevin Smith became a Hollywood darling with Chasing Amy, a film he wrote and directed, he made this $27,000 comedy about real-life experiences working for chump change at a New Jersey convenience store. A rude, foul-mouthed collection of anecdotes about the responsibilities that go with being on the wrong side of the till, the film is also a relationship story that takes some hilarious turns once the lovers start revealing their sexual histories to one another. In the best tradition of first-time, ultra-low budget independent films, Smith uses Clerks as an audition piece, demonstrating that he not only can handle two-character comedy but also has an eye for action--as proven in a smoothly handled rooftop hockey scene. Smith himself appears as a silent figure who hangs out on the fringes of the store's property. --Tom Keogh

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