"People Like Us (Three-Disc Combo: Blu-ray 3D/Blu-ray/DVD)"
This dramedy has the look and feel of a romantic comedy, but it's far from
it. The difference is the key to a story which, beside having a title that
doesn't relate so well to the content of the film, has no way to reach a
satisfying conclusion. That may be life, which it purports to be based on,
but a movie that leaves you hanging on an emotional peg isn't great for
my enthusiasm level.
When young fast-talker, supersalesman Sam's (Chris Pine, "Star Trek") estranged father dies,
at a time when his financial situation is about to go down the tubes after a
deal that goes sour, he has little choice but to go home again... to console
his mother Lillian (Michelle Pfeiffer, "Stardust"), to attend the funeral, but really to see if
dad left him the money he needs to sort out his financial woes and get his
boss's attorneys off his back.
Going through dad's papers and memorabilia turns up nothing, but when he's
contacted by his father's estate attorney Ike Rafferty (Philip Baker Hall) he
thinks there might be something for him, after all. Instead, Ike hands him an
old leather travel case with a hundred grand in roles of crisp new bills.
With it is a note to "take care of Josh." Who is Josh?
The answer to that leads to the the discovery that he has a half-sister,
Frankie (Elizabeth Banks, "The
Next Three Days"), whom he never knew about. And, she has a troubled
young son named Josh.
Now, Sam is living with Hannah (Olivia Wilde, "Cowboys and Aliens") in New York, and he brings her along
to meet mom, who immediately gives her approval. But the brother-sister angle
has all kinds of reverb and it's all of a heavy emotional kind. This is where
a romance at the center of the story goes into a whole twisted direction that
plays with our hopes for how it will all work out.
For one thing, Banks is a stunning beauty. And Pine is a highly attractive
male. In another context, we would know what destiny is in store for these
two. But what this story takes us through isn't only Sam's equivocation about
telling Frankie what's going on and delivering her and Josh's inheritance. He
acts as though he's a suitor and, intended or not, is damaging a relationship
with heavy biological freight.
What this movie, which touches on issues of trust, character and poor
decisions, has going for it is the acting. But I suspect that a certain
boundary of integrity was broken with this highly alluring and accomplished
duo at the center. I suspect that it would have lived up to the "true story"
angle better had it been cast with "plainfolk," which the actual people who
lived the drama probably were. You simply can't watch this without wanting
the blood relationship thing to go away and have them live happily ever
after.
Acting-wise, Pine has an interesting and, yet, effective way to fill reactive
moments, especially in closeups, with enough facial expression to give the
film editor plenty to work with. He reacts, he affirms, he doubts, he looks
away, he smiles, he turns back, he frowns, he smiles. Cut. Print.
On a ten point scale, Banks is a 10.9, which I consider legal. Which doesn't
mean she's the prettiest package in the world; it means she's in the rarified
atmosphere of her fellow 10.9s. Cinematographer Salvatore Totino takes full
advantage of it. And, there's nothing limited about her acting chops,
either.
September 2012 Releases
(Click the link for more info and to quickly and
conveniently get the edition of your choice!)
"Ghosts of the Abyss 3D (Three-Disc Combo: Blu-ray 3D/Blu-ray/DVD)"
This is some package! 3D to use when you upgrade to the newest video
technology; in the meanwhile, Blu-ray and DVD -- everything's covered. As
usual with a James Cameron project, class all the way and no expense
spared.
Cameron is also interesting and unique for his lifelong fascination with the
sea -- a filmmaker who draws creative inspiration from cutting-edge
technology. Again and again, he's taken us under the waves with state of the
art inventions -- both technological and artistic -- that expand the scale of
his and our imaginations. "Aliens," "The Abyss," "Terminator," "Titanic,"
"Avatar!" One of the most enviable records of filmmaking success on the
planet.
But this film is part of his small-scale, non-fiction contribution to our
knowledge of the ship that has sparked our imaginations since it went down on
her maiden voyage in 1912 with 2,224 passengers aboard -- some of them among
the wealthiest in the world. It's a documentary exploration of the RMS
Titanic as she rests on the bottom of the Atlantic where she was discovered
in a 1985 expedition lead by oceanographer Robert Ballard.
Enabled now, in the 12th year of the new millenium, with submersibles that
can stay with the ship at 12,415 feet longer than heretofore, and with mini
underwater rovers that are small enough to penetrate and send back video from
rooms, dining halls, kitchens and cabins like never before under controlled
circumstances.
But it's no easy thing to identify the parts and perspectives of a decaying
underwater wreck, even if it's intact -- take it from this old wreck diver.
Hence, Cameron adds the ghosts -- the enacted scenes that he overlays onto
the decaying structure and its functional parts that gives us perspectives
never afforded before. By this technique he unveils the ship's parts with
vivid recognition. An images of kitchen items is amazingly compared to a photo
taken before the ship left port; beautifully etched translucent windows that
haven't been lit up for all these decades shine with clarity and artfulness;
re-creations of the fates of the escapees and non-escapees as the ship listed
and slowly sunk complete a story of mortal ironies.
The expedition itself is intercut with the fruits of the crew's labors, with
actor Bill Paxton amidst the Russian and American scientists, historians,
archaeologists and explorers putting an everyman reactive voice into the
mix as interviews provide technical and emotional context. Count this film as
the latest memorial to one of the most famous and shocking maritime disasters
in modern history. It's as total an immersion into the secrets of the deep as
anyone would want to see from the warmth and comfort of their livingroom
couch. It's an occasion that inspires reflections on life and death, fate,
and the spirit that exists mournfully and sadly in utter silence as the
effects of time and salinity slowly and inexorably take their toll.
SPECIAL FEATURES
Disk 1 - Blu-ray 3D
60-minute Theatrical Feature
Disk 2 - Blu-ray
Disney enhanced High-Definition
90-minute Extended Feature
60-minute Original Feature
Reflections from the deep
Disk 3 - DVD
90-minute Extended Feature
60-minute Original Feature
|
August 2012 Releases
(Click the link for more info and to quickly and
conveniently get the edition of your choice!)
"Freelancers" [DVD]
[Blu-ray]
This film shows what you can expect from a leading actor with more charisma
than talent for acting. To make the prospects for the package worse, one-time
superb actor Robert De Niro, in a supporting role, plays a mob boss yet
again. No doubt he's got it down pat, and there's nothing in L. Philippe
Casseus' script to turn up the potential for anything original.
Which goes, as well, for the story and direction by Jessy Terrero ("Gun").
Young street hoodlum Malo (Curtis "50 Cent," "Gun") decides, with his 2-man
posse of school chums, to put on the uniform and the illusion of honesty
because he wants to follow in the footsteps of his dead father and life role
model. With the force primarily a corrupt institution in these parts, ("all
the way up to the mayor," he's instructed), the option to stay honest is a
non-starter. He becomes mobster Sarcone's (Robert De Niro) latest muscle man
whom he will ostensibly protect and pay off just as he did with dad.
Officer Larue (Forest Whitaker) and others of this precinct makes this mockery
of presumed protectors of the common good complete, as he trains Malo in the
realities and extent of their corruption. We've seen this movie before. The
claim to individuality is the indecision in the mind of our central
character about which side of the line he's going to end up in. The dilemma
is reflected also in his choice of woman, as he relishes his new income and
pulls the trigger anytime the higher ups demand it.
But there's no uncertainty about where this belongs on the scale of choices at
the boxoffice and DVD bins, the most interesting wrinkle being the final
appearance of old-time film star Pedro Armendariz ("From Russia with Love,"
1963) as Baez, Sarcone's mob boss competition. Although he may be uncredited,
it's the best performance of the lot. As for Mr. Cent, he is one of thirty
various kinds of producers, which may be the only kind of record the film is
likely to enjoy.
SPECIAL FEATURES Commentary with director
Jessy Terrero and Curtis "50 Cent" Deleted Scenes Behind the Scenes
interviews Extended interviews with cast and crew
July 2012 Releases
(Click the link for more info and to quickly and
conveniently get the edition of your choice!)
|
"Breathless" [DVD]
[Blu-ray]
Last year, when writer-producer-editor-director Jesse Baget released his
exaggerated for comedy and satire "Cellmates," he had his mojo on. Which
included his casting of actors who knew exactly what to do with his very far
out characters and dialogue. Alas, that mojo is not carrying over to this,
his newest DVD/Blu-ray release, "Breathless."
"Cellmates" had a style that seemed to be lowbrow humor but that was only on
the surface and there was much more to it underneath. The subtext was blaring
with satire, messages, and innuendo that was worthy of study at UCLA. Here,
unfortunately, in a limning of South Texas white trash, it's nothing more
than lowbrow. And, I don't know if I can forgive him for what he does to his
cast, which is totally game for the style but aren't on top of it.
Often, a performance is as much in the editing as in what was photographed on
a set. Pauses, indecisions, overreactions, reactions that show the actor as
befuddled, etc. can be cut out, leaving the best part of a performance in a
flowing, well paced impression of thespian excellence. Here, however, if editor
Baget had cut out the poor to bad moments he would have wound up with a
70-minute featurette. He left a lot in that just overtaxed the talent.
|
"Friends With Kids" - DVD
Yet another multi-adult behavioral comedy whose primary purpose seems to be
to keep New York actors working. Or, at least, working for the big screen in
order to advance beyond their TV careers. And, so we have good talent in a
plotline that's so artificial that it competes with plastic flowers.
Forty-twoish Julie Keller (quaruple-threat Jennifer Westfeldt who also wrote,
directed and co-produced this fare) and Jason Fryman (similarly aged Adam
Scott, "See Girl Run") are buddies from childhood and live in the same
highrise in "the" city. To set us straight about the consistency of their
relationship, an important part of their conversation is who they're sleeping
with and how their latest was, along with repeated avowals about not being
each other's "type."
Eventually, their married friends, with their kids have given the
platonics a desire to conform before they're beyond the age. With hesitant,
disjointed dialogue, each protecting their intentions from being misread by
the other, they decide to make a baby together. As all good friends might,
right?.
A lot of thought went into the variegated couples to avoid cookie-cutter
sameness. Thus there are Leslie (Maya Rudolph) and Alex (Chris O'Dowd) who
live in Brooklyn and are socially ungraceful and spar endlessy with words and
their subtexts; and Missy (Kristen Wiig, "Bridesmaids") and Ben (Jon Hamm)
who are a pebble away from being on the rocks. Adding to the mix are macho
man Kurt (Edward Burns) for Julie to get it on with and Maryjane (Megan Fox)
for Jason.
It's no secret what's going on here, hugely abetted by their sharing of
responsibilities with their child. Julie, while in bed post-coitally
with Kurt, experiences the revelation that it's not Kurt she's constantly
thinking about. Over a dinner table that they dare not call a date, she
fesses up her true feelings. Her platonic neighbor doesn't return them,
calling for Julie to readjust her life (SPOILER ALERT: and save the eventual
moment of mutual need and happiness for the end because that's all the drama
you're going to get here.
MORE SPOILER -- Do not read further if you haven't seen this movie
===========================================================
The scene in which the inevitable confession of love comes, held out so long
by an actress whose gift for writing isn't established here, is not only
badly written and acted, it reveals the distorted construct from the git go.
The dialogue is putrid, the expressions are feeble, and the possibility of
the joy Westfeldt was going for is lost like a willow branch in the Los
Angeles River.
No scene shows better the limitations of these TV actors and an actress with
writing and directing on her mind. When Jason returns a second time to
Julie's apartment he makes his case like a victim of a rubout desperately
trying to get the hitman not to kill him. He'll say anything, and nothing
he's saying has a shred of honesty. We read him, but Julie doesn't because
she never did get that the whole concept was phony. So much for acting,
writing, directing and co-producing. The backers should have known better.
Which is not to say Westfeldt, Jon Hamm's real-life wife, isn't a beauty.
God, girl, just act.
May 2012 Releases
(Click the link for more info and to quickly and
conveniently get the edition of your choice!)
"The Secret World of Arrietty" - Blu-ray 4-Disc EDITION)
When Japanese writer-director Hayao Miyazaki won an Oscar in 2001 and a great
deal of recognition far and wide for his wonderfully mystical animated
feature, "Spirited Away," it's probable that he wanted to repeat the
accomplishment for his Studio Ghibli which might be considered the Japanese
Pixar. This could be his attempt to do so, having in common with it a young
girl in a highly imaginative otherworldly context. But similarities stop at
that border line, for this girl is about the size of the mouse in your
hand.
The concept comes from the highly successful TV movie (1973), series
(1992-93) and novel, "The Borrowers" (1997) by Mary Norton. Miyazaki wrote
the screenplay for this animated feature, directed by Hiromasa Yonebayashi
who was the key animator for "Spirited Away," "Howl's Moving Castle" and
"Ponyo," titles that will be familiar to any fan of anime, Japanese
animation.
Arrietty (voiced by Bridgit Mendler in the U.S. version, by Saorse Ronan for
the UK) is the hyper-adventuresome 14-year-0ld daughter of the Clock family
who, being tiny, have to borrow for their own sustenance while living under
the motto, "Do not be seen by humans." To do otherwise, to these miniature
borrowers who are human-like in every respect but for their size, is to be
destroyed, a fate so many of their peers have suffered. As her age and
inquisitive nature has become a threat to discovery by the big people, cool
dad Pod (Will Arnett) teaches her the route through the walls and floors of
the house they are occupying so as to "borrow" their relatively modest needs
without being seen or suspected. Mom Homily (Amy Poehler) is the constantly
nervous one.
Through a series of accidents, first with a sighting outside and then with a
sugar cube, she comes to the attention of Shawn (David Henrie), a sickly boy
who has come to his kindly aunt Sadako's (Gracie Poletti) country home in
Koganei prefect, Tokyo, to recuperate. The danger of this discovery carries
many dire ramifications for the family while Shawn makes a great effort to
gain Arrietty's trust. His aim is to provide protection against ever lurking
danger.
But, there is a villain among the big humans. When Sadako is away on a
shopping trip one day, some loose floorboards lead the ugly, always
suspicious Hara (Carol Burnett), the housemaid, to discover Homily at work in
her tiny, well appointed kitchen. She grabs and imprisons the tiny mother for
the credit she expects to receive, glorying in her newfound advantage and
calling in a pest removal service to find the rest of the family and a flight
to another home becomes essential.
The heart of the story is the relationship that forms between Shawn and
Arriety which, but for the impossibility of size differential, would clearly
be a romance ending in marriage. Instead, it becomes a bittersweet tale of
friendship that, while poignant and heart rending, makes for a tepid outcome
and denies Miyazaki the amazement factor that created the sensation that his
first worldwide success did.
High definition of sound and picture duly serves the artistry of he and his
studio's immensely artistic and expressive talents.
SPECIAL BONUS FEATURES
Original Japanese storyboards
"Arrietty's Song" Cecile Corbet Music Video
Original Japanese Trailers & TV spots
"Summertime" Bridgit Mendler Music Video (also on DVD)
The making of "Summertime" (also on DVD)
|
April 2012 Releases
(Click the link for more info and to quickly and
conveniently get the edition of your choice!)
"War Horse" - Blu-ray 4-Disc EDITION)
Nominated as one of the Ten Best Movies of 2011, the question is, should it
have been on that list? Two reasons to think so: 1. Hollywood loves director
Steven Stielberg and considers his imprimatur all one needs for special
honors and, 2. it is a film made on a grand scale as though it were racing
for a nomination. So, the second question is... is it as good as a
nomination in this category would imply?
I didn't think so but plenty of critics weren't as critical. For me, it's a
movie that started out with a style that echoes films of a by-gone era and I
don't mean interestingly retro. Here's where Mr. Spielberg went wrong. He
gives his epic an air of self-importance and old-timey superficiality
with stilted, obvious dialogue and cartboard cutout characters. The drunk
husband and father (Peter Mullan), the stalwart wife and mother (Emily
Watson), and not an ounce of reality between them. The bathetic way they are
portrayed is worlds away from the communicative standards today's audiences
expect from a storyteller of Speilberg's rank in the art and craft of
moviemaking.
Fortunately, these roles are not the central part of the saga. The
adventure-seeking boy who is (Jeremy irvine), isn't much better at first, but
his love of horses and commitment to participate in the war with his
horse, allows this character to break out of this morass of tired domestic
cliche' by pursuing a dream and a track to follow during World War II -- two
items that promise drama.
The horse's destiny in the war, based on fact is, in fact, the motivational
dynamic that keeps the narrative together and it rises above its profound
predictability most of the time. It's all shrouded in something Spielberg
does very well -- big budget spectacle and splendor. But, because of the style
he adopted, it's a struggle for critical folks to remain engaged.
Surely, the depiction of how horses were used in this war is superbly
rendered and cause for strong emotional reactions if you're not too turned
off by the pervading narrative weakness. On the other hand, even if it's the
whole point of the story, the way the horse is sentimentalized to the point
of iconization at the end is self-indulgent, unforgivable pap and, reason
enough for the members of the Motion Picture Academy to have denied Mr.
Spielberg the award he and his promotional delegates were seeking.
Another curiosity is the lifting of a scene from another WWII film,
made 42 years ago. The sequence of the horse tied up in the barbed wire and
rescued by one of our boys is straight out of Dalton Trumbo's "Johnny Got His
Gun." In an almost identical troop standoff between American troops and
German, the sequence in the earlier film may be described as "the stinking
German in the barbed wire." See "Johnny... " to see the correllation.
The Blu-ray/DVD packaging is as stunning visually and technically proficient
as what one might expect of a Spielberg product, especially in the 4-Disc
combo pack.
SPECIAL FEATURES
Disc 1 - Blu-ray Feature Film + Bonus
War Horse - The Journey Home - Commentary by Steven Spielberg, cast & crew
An extra's point of view - a background artist speaks
Disc 2 - Exclusive Bonus on 4-Disc Combo Pack
A Filmmaking Journey
Editing & Scoring
The Sounds of War Horse
Through the Producer's Lens
Disc 3 - DVD Feature Film + Bonus
War Horse: the Look
Disc 4 - Digital Copy of Feature film
| |
March 2012 Releases
(Click the link for more info and to quickly and
conveniently get the edition of your choice!)
"The Three Musketeers" - Blu-ray SPECIAL EDITION)
This film is a visual WOW! from start to finish! But, when you take away the
cutting edge of glorious sets, breathtaking CGI effects, and superb
cinematography you're left with the talents: the actors you put into that
award-level costumery and a director who couldn't detect so many holes in the
script that it resembles a kitchen colander. Obviously, director Paul W.S.
Anderson and screenwriters Alex Litvak and Andrew Davies mistook outworn
silliness for action adventure.
Blazing their own trail on Alexandre Dumas' 1844 classic, they pull out every
cliche' known to movie swordfighting as a basis for their narrative about
good versus treachery against the crown. Wearing that crown is weak-legged,
King Louis XIII of France (Freddie Fox) who is one brain cell shy of an
imbecile.
Totally devoted to his safety and good health are the original three
musketeers, Athos (Matthew Macfadyen), Aramis (Luke Evans) and the
monster-sized Porthos (Ray Stevenson) -- to which enters newcomer D'Artagnan
(Logan Lerman), as skilled with the sword as any of them.
He's so good, in fact, that he attracts the attention of the Queen's
beautiful blond lady-in-waiting (Juno Temple) with his mastery of
swordsmanship agaisnt the forces of Rochefort (Mads Mikkelsen), the leader of
Cardinal Richelieu's (Christoph Waltz) guards who are the local bad cops. The
lad's arrogance is only fed by his fighting groups of them off under the
attentive gaze of the lady. But this is small stuff against the other evils
being perpetrated.
The totally corrupt Richelieu is the arch villain who is ever at the dumb
king's side as his advisor and betrayer-in-chief and demands his hand be
kissed by all whose stations are beneath his. The beautiful Milady de Winter
(Milla Jovovich) adds feminine guile as well as pulchritude as a double agent
between the crown and his prime enemy, English Duke of Buckingham (sneering
Orlando Bloom), who is also guilty of having been the Queen's lover, a
terrible problem that preoccupies the king every minute of the day.
The weapons of choice are the rather ridiculously contrived (but grand)
air-ships out of Terry Gilliam's wildest dreamscapes, giving our intrepid
foursome something to work with as the crown jewels become the object
everyone get very worked up over, producing wild gymnastics and phony fight
choreography galore (always entertaining assuming we can ignore the 21st
century laser beam security system protecting them -- but that's what
Jovovich is here for).
Someone put a great deal of effort and money into these stock characters and
exhausted ideas clothed in a visual accomplishment that compares or exceeds
Harry Potter but with a lighter, slicker palette. The blu-ray rendering of
the film is laser sharp and the audio provides surround systems with
marvelous separation.
Of the actors, the one to watch is Macfadyen ("Pride and Prejudice").
Imparting an attention-getting laid-back style to his Athos, he actually
provides charisma and the feeling of dimension to the prevailing superficiality.
I kid you not -- this is simply ASTONISHING eye candy from every technical
department. What a production! If you have a special interest in the visual
part of filmmaking you just have to see it in all the sheer glory of its
excess. The film was made in Bavaria, Germany where they found that grand
palace. Or, was that just CGI?
Blu-ray SPECIAL FEATURES:
Access: Three Musketeers Where you can activate dynamic "scene
specific" features.
Audio Commentary
Deleted Scenes with Commentary
"From Time to Time" - DVD)
Writer-director Julian Fellowes has turned in a good number of screenplays in
his time and some of them have been solid successes ("Gosford Park"). When he takes
the helm to direct one of his own screenplays, however, he proves that
there's little chance of success. Not if you're looking for a story with some
dynamics for a 2012 audience. This is a snoozer.
As the second one of these boredom inducements under his directorial rubric
(after "Separate Lies") I'll
wager these directorial opportunities come up when he can't sell a script
on its merits. At such times he puts on his producer cap and manages to get
financing on the basis of his reputation as a writer ("Rumpole of the Bailey"
BBC TV series, "The Tourist"). This script bears the stamp of something no
one else would touch and, after a few festival dates, the makers were well
advised to release the 2009 production as a straight-to-the-bins DVD issue.
As if there was a choice.
As fans of "Rumpole" know, Fellowes' natural inclination is a fussy
fastidiousness in character creation and in the makings of a yarn a
significant number of people would be glad to pay to see. In Rumpole it
works--for a very limited audience of, mostly, brits; in a standalone product
like this, he screens out any sense of modern drama. I haven't seen a
movie with such an artificial and unengaging style since... well, the
fifties. It might find an audience among Brits past 60 but will have little
chance on this side of the pond. All of which suggests that he writes well
when he's working on other directors' ideas but would do well to steer clear
of the director's chair himself.
"From Time to Time" is a ghost story about a family with a closet-full of
them and begins when 13-year-old Tolly (Alex Etel) comes to the run-down
countryside mansion where granny Linnet (Maggie Smith) lives. He comes at the
urgency of his mother to protect him from the dangers of the city during
World War II (circa 1944), convinced that his father, who is missing in action,
is still alive and will return. From there it's a bunch of chatter about
family history both current and of two centuries ago. The boy can see and
interact with the historical characters who once lived and worked in this
house, but in the effort to generate excitement, or some genuine liveliness,
the dramatic issues and the attempts at irony or humor ignite no spark. I
just wanted 2012 back again.
The period costumes are okay; the stone mansion, which had a fire in times
past, is rendered with visual cheats and obscurites to suggest an earlier
calamity without doing true harm to the actual place -- as if anyone would be
fooled. Brilliant Carice Van Houten ("Black Book," HBO's "Game of Thrones") did her best to
breathe some life into the dusty corriders. Special Features consist of Cast
& Crew interviews and a trailer.
|
| |
February 2012 Releases
(Click the link for more info and to quickly and
conveniently get the edition of your choice!)
"J. Edgar" - DVD + UltraViolet Digital Copy)
One more notch in Clint Eastwood's biography belt brings us an off-target
version of a figure in America who made history as the feared Director of the
FBI. This was the man who created fingerprinting as a means to track down
mobsters and murderers, and other innovations in law enforcement. What made
him particularly fascinating, however, were the dossiers in his possession
that contained the personal and public secrets of people in positions of
power and of anyone he considered an enemy. Today, we'd call it Hoover's
database, and if you were a politician or a civil rights activist, you
wouldn't have wanted to be in it.
Unfortunately, you may not want to invest your time in this movie, either.
Among Eastwood's films, this isn't anywhere near the top and, quite possibly,
because he wanted to tell the story with some of the salacious aspects of his
subject in a tasteful, non salacious way. These items of interest veer
toward Hoover's sexuality, both known and hinted at. Giving meat to the
hungry press were signs of no woman in his life, known incidents of his
cross-dressing and most defining, the constant man at his side, agent Clyde
Tolson (Armie Hammer).
A bio about the director of the FBI under eight presidents and 48 years is
long overdue and, at least, Eastwood read that tea leaf right. Even if his
storytelling style is moribund and overrestrained, Eastwood, avoiding
controversy, treats his espose' of Hoover almost as a homage. It's as
laborious as his prior history lesson, "Flags of our Fathers." But the veneration approach isn't
what a lot of us come to the theatre for.
Where some praise is due, however, is not so much in Leonardo Dicaprio's stab
at portraying the big man, but for the obvious effort he put into it. He does
a credible job of playing his character throughout his long career but he's
no Meryl Streep in a full absorption of her character, as she is currently
portraying Margaret Thatcher in her stages of life in "Iron Lady." The comparison shows
the difference between a good actor, and the best one in the art.
Unfortunately, so much rode on successful makeup, prostheses and hair that
a comfortable rendering was a challenge too far. For myself and some
people I've spoken to, the Colson makeup is the worst, almost painful to
watch. Eastwood might have taken the David Fincher route and go CGI as he did
so seemlessly with "The Curious Case
of Benjamin Button." But Eastwood is an analog kind of guy and the
traditional, non-digital approach is his comfort zone. He's not looking to
venture away from it.
|
December 2011 Releases
(Click the link for more info and to quickly and
conveniently get the edition of your choice!)
"The Help" - Blu-ray + DVD)
Among other cultural upheavals, the early sixties marks an era of civil
unrest and a defining of racism. This comedy-drama, adapted from Kathryn
Stockett's novel, is set in Jackson, Mississippi during that time, focusing
on two black maids working for privileged white families as they awaken to
the inequality they are suffering from employers who regard them as lesser
humans and themselves as their masters.
But even as these domestic workers become more and more discontent with the
lack of respect they must suffer if they're to hold onto scarce employment,
they lovingly care for the children of the families who show them no such
disrespect. The possibility of the children growing up as clones of their
parents isn't a consideration. It's all about loving the innocent. But,
it's a dilemma that Aibileen Clark (stalwart Viola Davis), as the icon of the
breed, exemplifies and rises to symbolize. She employs wit and and anger
toward the South's historical inheritance as she begins to understand and
embrace the new climate in the air.
Eugenia "Skeeter" Phelan (lovely Emma Stone), a journalist born of these
realities of inequality, finds herself at odds with the society girl luncheon
crowd of her contemporaries which is comprised of smug, superior white
racists such as Hilly Holbrook (suitably villanous Bryce Dallas Howard) and
Celia Foote (hissable Jessica Chastain). Going very much against the grain
of prior decades, if not centuries, she represtents the book's author and the
enlighted age in taking on a project to record interviews of the "help,"
and, once trust is established, providing and outlet for long withheld
animosities.
As is usual with good intentions, things take on a force of their own as
Phelan's unfamiliar respect for blacks becomes known, igniting threats and
heretofore impossible bonding. The times they are a-changin' and there's
nothing better than satirical humor to couch it in.
Blu-ray SPECIAL FEATURES:
Mary J. Blige's "The Living Proof" Music Video
Making of The Help: From Friendship to Film
In Their Own Words: A tribute to the Maids of Mississippi
More Deleted Scenes (than on the DVD)
DVD SPECIAL FEATURES:
Deleted Scenes
Mary J. Blige's "The Living Proof" Music Video
|
"Fright Night" - Blu-ray + DVD)
A cast limited in number but overflowing in healthy cell count and talent
makes for a superior bloodfest here, in this tasty remake of the 1985
classic. The family in trouble are the Brewsters, starting with single mom
(Toni Collette) and son Charlie as the one destined for the out-of-school
challenges. Somewhat nerdly independent, you wouldn't think of him as the
senior in high school to have the singeing hot Amy (Imogen Poots, "Jane
Eyre") as his girlfriend -- something that the envious jocks give him grief
about. But, then, he and she did grow up together (and he's different than
the run of soreheaded bullies at the school).
Relationships, however, stagger under the load of supernatural incidents that
begin with the arrival of a new next door neighbor who happens to be a
400-hundred year old creature in the guise of handsome Jerry (Colin Farrell).
Even mom's aroused. Charley, however, being the cynical lad that he is, picks
up on the kind of alpha male the next door charmer is because of what he's seen
of his thirsts and nocturnal forages. It isn't anything anyone else will
believe, and the necessity of keeping it to himself puts a real strain on
attitudes from family and friends. The last thing he wants in the world is
to lose Amy, and for the best of reasons. Just look at her and you'll lust
with him all the way.
Fortunately, or unfortunately, things will change once the Jerry monster
drops the neighborly act and goes after everyone he wants to for his liquid
repasts, including the girl. By the time he's got almost everyone under his
control Charlie, with the help of clownish pal Ed (Christopher Mintz-Plasse)
and famous vampiric showman and expert Peter Vincent (David Tennant) he goes
forth brandishing axe, cross and stake to take Jerry head on and salvage
what's left of the neighborhood.
Farrell steps into the genre assuming all the duly nasty tropes of the idiom,
delivering them with abandon and relish. Poots, owning a place among the
sexiest of the current crop of beauties, leaves no doubt that a cornucopia of
movie offers are hers for the taking (she's already booked for four projects in
2012 and one to open in 2013--all for very good reason which you'll see the
minute you lay eyes on her in this DVD.
The international flavor of the cast is hardly a necessity, but with a
Russian-American (Yelchin), an Irishman (Farrell), a Brit (Poots) and an
Australian (Collette) you couldn't ask for a more diverse set of bloodlines.
Be that as it may, this is superior to many another splashy vampiric night
and proves that there are times you don't want to stick your neck out for your
neighbor.
Blu-ray SPECIAL FEATURES:
Bloopers
Kid Cudi "No One Believes Me" Music Video (Uncensored version)
Squid Man - Extended and uncut
DVD SPECIAL FEATURES:
Peter Vincent: Come Swim in My Mind
The Official "How to Make a Funny Vampire Movie" Guide
All DVD Bonus Features
|
November 2011 Releases
(Click the link for more info and to quickly and
conveniently get the edition of your choice!)
"Conan" - 3D Blu-ray/Blu-ray/DVD, Digital Copy)
Before we go denigrating another sword and sorcery, smash and burn epic that
defies gravity and logic, we should consider the intentions of these films,
which most of the time are expensive and incredibly exquisite art.
Certainly, no expense was spared to create the settings for this redo version
of Conan which employs the landscapes of the Czech Republic. Visuals here
are nothing less than breathtaking, with action and cinematography to help
make it so. From a technical standpoint, this is a fully realized commercial
production that is visually smashing in any format but cries for Blu-ray.
Story logic is another thing, but there are elements here that rise high
enough to provide interest and engagement, like exquisite Rachel Nichols
("Startrek" 2009) as
Tamara, the last of the bloodline of the Necromancers of Acheron. With
martial arts skills that belie her tender beauty and smart demeaner, she
becomes a most crucial figure in Conan the Cimmerian barbarian's
(super-muscular Jason Momoa, "Game of Thrones" TV) revenge on Khalar Zym
(Stephen Lang, "Avatar") for
the death of his beloved father, Corin (Ron Perlman, "Tangled"). Khalar, after
securing the last piece of the magic mask from Corin, then needs the pure
blood that Tamara possesses in order to bring it alive and achieve the
ultimate power of a god.
Tamara, then, is the key to the drama and to unlocking warrior Conan's heart.
And, when the fight becomes personal, you can bet he will face every risk and
impossible odds. You can also bet he'll prevail. He is, after all, his
father's son and a handsome hunk on the right side of justice. Momoa is
sufficiently dimensioned to make him compelling in the part. Not quite a
Schwarzenegger, but he's capable of developing sympathetic interest.
Khalar's beautiful daughter Marique (Rose McGowan, "Law & Order" TV) adds her
sorcery, deadly nail extensions and blood-sampling talent to make her a
co-equal hissable villain. She compounds the difficulties on Conan's quest
for revenge and rescue of his lady.
SPECIAL FEATURES:
Feature-length Audio Commentary with director Marcus Nispel
Feature-length Audio Commentary with actors
The Conan Legacy
Robert E. Howard: the Man Who Would Be Conan
Battle Royal - Engineering the action
Staging the fights
|
"Cars 2" - DVD
Lightning McQueen (voiced by Owen Wilson), Mater (Larry the Cable Guy), Sally
(Bonnie Hunt), and the rest of the gang from Radiator Springs return in this
sequel to Pixar's Cars (2006). But instead of picking up where the original
left off, director John Lasseter and his crew take their inspiration from
James Bond in a high-test mix of espionage and road racing. While it makes
for a lot of four-wheel action, the dark intrigue doesn't seem to belong to
the bright coloration of the automotive stock and it creates the question of
why they went up this track.
Between the racing circuit and the criminal actions, it becomes a global
tour, with location sites in Tokyo, London, Paris and the Italian Riviera.
Quite a journey from Radiator Springs. Car-characters run the gamut from
sumo wrestlers, kabuki actors, Queen Elizabeth II and much more. The whole
thing is powered by irrepressible creative fuel.
Finn McMissile (Michael Caine) and Holley Shiftwell (Emily Mortimer) are
trying to find out who's trying to sabotage the race and for what purpose,
while McQueen is trading insults with the speedy and spiffy Francesco
Bernoulli (John Turturro) who, between them, dominate the contest. But, as
central to the scenario as McQueen is, insecure Mater (Larry The Cable Guy)
becomes a very big deal in the adventure as it progresses, with what should
be great appeal to the kids in the audience.
Visually, it's up to par with the original and comes in a 5-disc version that
includes 3-D. Leave it to the folks at Disney and Pixar for great expertise
in animating the car figures with so much expressiveness, but the
transmigration to humanity is a leap not everyone above the age of, say, ten,
will make despite the considerable genius behind it.
SPECIAL FEATURES:
Cars Toon, "Air Mater"
"Hawaiian Vacation" Theatrical Short
Director's commentary
|
"The River Why" - DVD
One third Oregon travelogue, one third fishing lesson and one third a young man's
search for meaning -- it's difficult to recall any film that offers less drama
in such a meandering package, or one in which the director gives himself
permission to drown us in an excessive display of self-indulgence.
Based on the best-selling novel by David James Duncan, it stars the
attractive Zach Gilford ("Friday Night Lights" TV series) as Gus, a young
man who has become as expert a fly fisherman as his famous and published
father; his demanding academician father (William Hurt, "Damages"), who
named his boy "Augustus" and still insists on calling him that as he
suffocates the lad with his strict demands; the alluring Amber Heard
("Zombieland") as Eddy, a sprightly lass whose stunning sexuality and
different approach to landing a fish teaches Gus that all is not trout; and
Gus's warm and more understanding mother (Kathleen Quinlan, "Made of
Honor").
When Gus has taken all he can bear in his parents' home, he gathers up his
belongings (and one assumes some pocket money) and takes off for the River Why
in Oregon. A quarter of the film is devoted to the beauty of the watery
landscape in which Gus proves his acumen with a fly rod. His expertise in
making flies for himself and local fishermen provides a small income and some
satisfaction. But he becomes as bored as we do with his hermetic world and
his long moments staring at the magnificent wilderness. We get it. He's an
outdoorsman.
Blond, alluring Eddy comes along in the nick of time to set him on a better
course. He is smitten with the playful and standoffish girl but has no clue
how to ever see her again after that day on the river. The impression she
has made lingers, and he's filled with the longing and concern that is
finally the right ones if we're ever going to be able to connect with this
character.
Locals Titus (Dallas Roberts, "Shrink") and Dutch Hines (William Devane, "24" TV series)
are there as friends to give him some advice and guidance.
Stuntman Jason Borger ("A River Runs Through It") was the technical adviser
and fly casting expert on hand to give father and son credibility with the
exacting techniques of the sport. This content, while interesting, is hardly
enough to compensate for misguided storytelling and general lack of
discipline. The lassitude may be a reflection of what fishing is like out on
these beautiful waters but, unfortunately, it also explains why a film
completed in 2010 is finally released on DVD in late 2011... and why festival
awards are not to be trusted. Beautiful photography isn't enough.
SPECIAL FEATURES
Interviews with cast and crew.
|
September 2011 Releases
(Click the link for more info and to quickly and
conveniently get the edition of your choice!)
"The Tempest" - Blu-ray
This classic supernatural tragicomedy from the pen of William Shakespeare has
been presented in many a way since its creation in the early 17th century,
and no one seems to be bothered by the liberties taken. So along comes
film-stage-musical director/writer/producer Julie Taymor, she of Broadway and
the movie, "Across the Universe," to turn Prospero, the central character as
seen by the great Bard, to Prospera, the better to give Helen Mirren the
magic stick.
This bewitching lady wields it to create much turbulence over her enemies and
family matters, launching a ship-scuttling tempest from the island she
dominates. The storm catches the approaching ship unawares and causes King
Alonso (David Strathairn), the fair Prince Ferdinand (Reeve Carney) and a
small retinue to wash up dry and spiffy in spotless uniforms. (Look, this is
beyond magical realism--it's supernatural mysticism) Prospera's most excellent
spook (or, say, spirit) Ariel (Ben Whishaw) sees to it as she commands,
promising it (him?) freedom from her control in a few days.
The visiting party breaks up and it's not long before the Prince spots the
gorgeous Miranda (Felicity Jones), Prospera's daughter, and the thrust of the
comedic part of the story becomes clear. As for the tragic, we've got a
boatload of evil plotters and fools, Prospera's troublesome island savage
Caliban (Djimon Hounsou), trinket-loving Trinculo (Russell Brand), Stephano
(Alfred Molina) and others to stir the craven lust for power.
Who Taymor was thinking of attracting to pay for her $20 mil production is
anybody's guess but, boy, does all that money show up in the quality and
magnificence of the production, led by Director of Photography Stuart
Dryburgh, Production Designer Mark Friedberg, Costume Designer Sandy Powell
and a team of CGI geniuses who, if the playwright were around to see how his
imagery was realized in a 2010 digital world, would probably adjust his
notion of the gods and the universe. Taymor's visual creativity with Ariel
deserves special applause, if not award recognition.
In the meanwhile we celebrate this DVD/Blu-ray release which makes it fun to
sit through Taymor's fanciful liberties and watch Mirren emote, Jones looking
wenchy, and the rest plotting their schemes throughout a tiring walkabout.
SPECIAL FEATURES:
Los Angeles Rehearsal (exclusive to Blu-ray)
Raising the Tempest - Julie Taymor doc on the making of the movie
Julie Taymor Audio Commentary
Annotated Shakespeare
"O Mistress Mine" Music Video
Russell Brand Rehearsal Riff
|
"A Cinderella Story: Once Upon A Song" - DVD & Digital Download
Those who are familiar with the talents of female artists on the rise will be
no stangers to Lucy Hale of the TV show, "Pretty Little Liars." For the rest
of us, this Warner Bros. fantasy romance is a showcase and introduction to
some mighty impressive song-making. This girl can sing! If only the vehicle
in which she appears was up to the quality of her voice.
It's a musical take on the classic story of a poor waif who suffers abuses by
a wicked stepmother and comes out the winner. Here, the witchy lady, Gail
Van Ravensway (Missi Pyle), spends most of her waking hours trying to figure
out how to demean, embarrass, cheat and obtain the inheritance of her
stepdaughter Katie Gibbs (Lucy Hale) whom she treats like a slave. If not
for Hale's ability to handle it while also capturing our respect and awe of
her talent, this whole movie would crash and burn in a pyre of sloppy
overstatement. Realism isn't the point here but the fantasy is obvious and
inept.
Van Ravensway, the dean at the Performing Arts school all the Ravensways
attend, doesn't allow her stepdaughter to even live with her, her biological
daughter (Megan Park) and overprecocious brat son Victor (Matthew Lintz) in
their mansion. The slave lives alone, in the slave quarters out back.
Meanwhile, blond young stud Luke (Freddie Stroma, Cormac in "Harry Potter")
(who also sings a pretty lick), transfers to the school and becomes the
object of the sisters' desire. He's put in charge of the talent contest, an
event that arouses Van Ravensway's interest in promoting her talentless
daughter and when she learns that the stepdaughter can sing, demands she
provides the live track (from behind the curtains) for her little girl's lip
synching.
When the film finally gets around to the showcase performances, it finally
pays off with the promised talent. Even the stepsister delivers some nifty
choreography to Katie's upbeat lyrics. All we need now is Charming Prince
Luke discovering just who is worthy of his attentions. Then we'll see who
wins him... and the recording contract.
Despite the awkwardly overdone premise and total lack of subtlety,
cinematographer John Peters keeps the film looking smart and extremely
professional. Just don't get this DVD for writers Erik Patterson and Jessica
Scott's crude and sappy adaptation or Damon Santostefano's direction.
(Chances are the target audience for this wouldn't anyway). The control and
lyrical shadings that you'll hear coming out of Hale's extraordinary throat
in the musical numbers is all the justification you need. This girl is going
places and you'll be glad you saw her at this stage in a career that is bound
to have skyrockets with boosters. She could have won any "Idol" season she
wanted to.
SPECIAL FEATURES
Spotlighting Lucy Hale
Meet Prince Charming: Heartthrob Freddie Stroma
A Cinderella Story: Make 'Em Move
Flippin' On Set
Hot new Music Video for "Bless Myself"
|
August 2011 Releases
(Click the link for more info and to quickly and
conveniently get the edition of your choice!)
"Mars Needs Moms" - 2 Disk Combo Pack
A film with a childish title like this one can only live up to itself, and it
does. As an adult, I feel guilty about reviewing it because from my
perspective it's utter nonsense. But, I do recognize that the sub-teenage
crowd is likely to swallow it up whole.
The nonsense begins in the premise. Mars is populated by bunches of strange
beings who are under the control of a tyranical "Supervisor" (voiced by
Mindy Sterling whose throat should be raw by now). She has a probe on earth
that looks for mothers who have the ability to be stern with their kids.
When she finds such a mother, she sends a kidnap ship to bring the mother to
Mars to sap their energy juices, or whatever.
Throwing all logic to the winds, little son Milo (Seth Green), realizing that
his mother is getting taken, races to the spaceship and hops aboard, giving
him an excellent adventure that includes making pals with Gribble (Dan
Fogler), a tech-savvy nerd from Earth who has adapted to the Martian ways.
He turns out to be a vital part of the attempt to rescue Milo's mom before
it's too late, and the clock is ticking.
The animation technique is motion capture and this results in an
extraordinary achievement in character expressiveness and realistic movement.
It's just amazing! How the live actors do it on the set is shown during the
end credits and it's one of the many bonuses. The Martian landscape and
underground vistas give the CGI artists a chance to create visual magic.
BONUS FEATURES
Blu-ray 3D:
Everything on the Blu-ray and DVD Plus...
Mom Napping
Blu-ray 2D:
Extended Opening
Lif On Mars: The Full Motion-Capture Experience
Deleted Scenes with Simon Wells Introductions
"Flower Power" Easter Egg
DVD:
"Fun With Seth" on set antics of Seth Green and Dan Fogler
Martian 101 - How the producer and cast came up with their own unique
Martian language.
|
May 2011 Releases
(Click the link for more info and to quickly and
conveniently get the edition of your choice!)
April 2011 Releases
(Click the link for more info and to quickly and
conveniently get the edition of your choice!)
March 2011 Releases
(Click the link for more info and to quickly and
conveniently get the edition of your choice!)
February 2011 Releases
(Click the link for more info and to quickly and
conveniently get the edition of your choice!)
|
