By Alan Scherstuhl
By Charles Taylor
By Melissa Anderson
By Inkoo Kang
By Amy Nicholson
By Sam Weisberg
By Stephanie Zacharek
By Chuck Wilson
When Grindhouse and Zodiac opened this spring the reviews were ecstatic. By the time they finished their runs with a victory lap at the Cannes Film Festival (Grindhouse on one leg, having amputated Planet Terror), it was clear that audiences didnt agree. Domestically, neither film grossed half its reported production budget. Why did two of the years finest American films end up as flops?
Were not talking about obscure art films here, though both employ strategies more common to the avant-garde. These are genre films by famous directors with large, popular followings. Was Grindhouse actually too much fun? Is there a limit to how many exploding heads, hot babes, and next-level vehicular insanity people can handle?
The failure of Zodiac is less surprising for a number of reasons, starting with the fact that failure is the subject. Where Grindhouse delivered everything it promised but failed nonetheless, David Finchers meticulous recreation of the hunt for the Zodiac killer thwarted every possible expectation of what the new serial killer thriller from the director of Seven would deliver. You cant blame Paramount for selling it on those terms. What were they supposed to do with a movie completely uninterested in a legendary psychopath but exhaustively fascinated by his effect on institutions (law enforcement, media, family)? From the mind that deconstructed masculinity in Fight Club comes a perversely intelligent vision of life in the information age. Neurotic! hails the New Yorker, Obsessive! raves the New York Times, Termite art par excellence! says the Village Voice.
The good news for Zodiac fanatics is that the DVD version released today offers new angles on futility and frustration. The bad news is why. Fincher enthusiasts who remember the directors early embrace of the format with his feature-packed Fight Club disc will be surprised by the total lack of extras on the Zodiac DVD. Other than watching the film itself, the only option is to click on Previews, where the mystery is explained. Look for the Zodiac directors cut featuring footage not seen in theaters, including commentary by [everyone], an in depth examination of the Zodiacs actual crimes including all new interviews with the original investigators, survivors and informants and extensive behind-the-scenes supplements covering nearly every aspect of the creation of David Finchers landmark film.
Look where, under audio set up? No. Coming 2008.
Excuse me but what the fuck is that? Its like activating your brand new iPhone only to find a text message announcing a 20GB model for $300 on sale next year.
I planned on using this space to find out if I was correct in predicting that a directors cut of Zodiac would be amazingand intolerable. I was eager to discover if certain qualities that made Zodiac so compelling on the big screensuch as the inventive high-def cinematography by Harris Savides, so crucial to the success of this digital meditation on analogue information processingmight grow ever richer on DVD. Plenty of critics have noted Zodiacs affinity with classic 1970s procedurals like All The Presidents Men, but what about the kinship with network cop shows or the system-based narrative of The Wire? If there is a sense in which Zodiac addresses the fragmentation and isolation of the mass media audience, could it prove more resonant as an individual home viewing experience than a collective theatrical one?
Yet even this half-assed Zodiac got under my skin. Intentions were thwarted, questions unanswered. My quest goes unresolved but not abandoned, with hope held out for future revelations. Comes with the territory.
TOP FIVE DVD RELEASES THIS WEEK
1. Zodiac (David Fincher, 2007, Paramount Home Video). All bitching aside, this featureless disccall it the Sucker Editionstill contains the film, and that film is a masterpiece.
2. Avant-Garde 2: Experimental Cinema 1928-1954 (Kino Video). Another blast from the avant-garde canon courtesy of Kino. Essential films by Stan Brakhage and Gregory Markopoulos among others, plus the rarely seen 111-minute version of Traité de Bave et DÈternité, the legendary cine-manifesto by Letterist prime mover Jean Isidore Isou.
3. Classic Musicals From the Dream Factory, Vol. 2 (Warner Home Video). Garland. Minnelli. Astaire. Donen. Temple. Kelly. Nuff said.
4. Five Dedicated to Ozu (Abbas Kiarostami, 2003, Kino Video). Last seen as a five-screen installation complementing the Kiarostami retrospective at MOMA, this elegant experimental feature by Irans most celebrated filmmaker is packaged with Around Five, an illuminating guide to its methods, principles, and poetry.
Commentary Track, Nathan Lee's DVD column, runs biweekly.
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