It has been confirmed that the 2009 James Cameron film AVATAR, starring Sam Worthington, Zoe Saldana and Sigourney Weaver, will be released in a 2D special edition set as well as in 3D in 2010. The AVATAR: COLLECTOR’S EDITION (2D version) will be released on November 16, 2010. Right now we know that there will be an extended version of the movie, with at least 16 extra minutes of footage as well as 45 minutes of extras. I’m sure more information about this edition will be revealed sooner to the release date. It has also been confirmed that the 3D version of the film will only be available exclusively to purchasers of the Panasonic 3D Viera Plasma TV. Panasonic is working on making the film release available to early adapters of the 3D Viera Plasma TV, but that deal is still in negotiations. This Panasonic/Avatar package will be available in early December.
So, from where it stands right now, if you were planning on throwing down money for a high dollar 3D TV it may be worth the wait so you can get the exclusive AVATAR 3D package. If you’re not willing to go out and purchase a brand new 3D plasma TV around Christmastime (note the sarcasm) then you will have to settle with the regular 2D Collector’s Edition version. Either way, James Cameron is going to be making even more money on AVATAR with this Panasonic deal as well as the triple release of his film. Love him or hate him, the guy, or his team, are marketing geniuses.
It should be noted that none of the reviews on Flix66 contain spoilers, but given the numerous mysteries in ‘Lost’, I find it necessary to put a spoiler warning on this review. So if you haven’t seen the last season yet, do not read this review (or any review for that matter).
Any discussion about the 6th and final season of ‘Lost’ starts and ends with the two hour season finale. Holding true to his promise, J.J. Abrams tied everything together in 6 seasons and fans everywhere have been debating the finale’s merit ever since. Looking back at the series, I don’t think it would be possible to create a finale that everyone loved. Some people wanted more answers, some people wanted less and some wanted different answers.
The 6th season starts off confusingly by creating a parallel world where the Oceanic flight didn’t crash. Each character has a different life and different problems, but the inherent issues for everyone were still the same. I say this was confusing at first because in the first handful of episodes, it felt like we were retreading old ground and that the events on the island were either being ignored or maybe didn’t happen at all. For a while, I was nervous that everything on the island was going to be considered a dream ala old school ‘Dallas’. And then I was convinced the parallel world was actually the future and then the time on the island was a chance for the characters to “grow” like in an 80′s body swap movie.
Thankfully, that wasn’t the case (more on that later). But unlike other seasons that jumped right into the action, I felt the sixth season took a while to get going. I really didn’t like the introduction of the temple and the people in the temple. After six seasons, we didn’t need new characters introduced, especially ones that ended up dying so quickly and apparently served little to no purpose. The focus should have remained on our heroes the entire time and there was plenty of minor mysteries who’s solving should have taken priority over setting up new characters and mysteries.
However, about halfway through the season, the show picks up and then it becomes typical “OMG LOST!” fodder. For the last 8 episodes or so, every episode had something in it that prompted a scream or a reaction. Looking back on the show as a whole, those every-episode cliffhangers were what really made this show incredible and the sixth season was filled with them. Special mention should be given to the some of the death scenes, which proved to be intense and heartbreaking.
As much as I liked the ending, I still have trouble focusing on anything but the numerous questions it left. I think I understand the purpose of the island, but how they ended up in the “purgatory” alternate world is still a mystery to me. If each character had to die on the island to make it there, it would make more sense. But since we didn’t see the death scenes of every character, I was left questioning what happened to them back on the island. I loved the pseudo-heaven insinuation the show suggested, but I felt it left some holes. As for the other mysteries the show failed to solve; I didn’t really care. I’m glad they didn’t spell everything out for us and I thought they did a great job of clearing up some of the bigger mysteries. I don’t really care about the molecular structure of the black cloud or how Jacob’s fake mother arrived on the island.
Taking the show as a whole and looking at all the six seasons, I’m in awe. This is such a great show and I question whether we’ll ever see anything like this again. Taking the sixth season by itself, I thought it might have been a little weaker than some of the other seasons, but the handful of great episodes made up for it and the ending was a nice wrap to a great show.
BLU-RAY REVIEW
Video: TV doesn’t look better than Lost on Blu-ray. Every episode was spectacular.
Audio: The same can be said for the audio. Seriously, if you haven’t upgraded your DVD’s of Lost to the Blu-rays, you’re missing out.
Lost in 8:15 (8:15): Possibly the best part about the Lost sets is watching the “Lost in 8:15” recaps. This one takes us to the beginning of the sixth season. I want one that covers the entire series.
Commentaries on LA X, Across the Sea, Dr. Linus, Ah Aeterno with various creators and actors: All of these are great, but I recommend the Across the Sea with Damon Lindelof and Carlton Cuse. They give a wonderfully detailed commentary on the episode and even point out some of their mistakes. It was also nice to hear Michael Emerson (Ben) talk about his episode. These are just really good listens and if you want more lost, watch these episodes again with the commentaries.
Lost University – Master’s Program: This is just too much to cover in one paragraph. This is an insane amount of content with multiple hours of featurettes, speeches, interviews and random other segments. Some are better than others, but after attending the Master’s Program, you’ll definitely have your fill of Lost.
New Man in Charge (11:56): This is the feature that has gotten so much press because it’s kind of like 25% of a follow-up episode. I enjoyed this, but for those hoping to get answers or explanations for all of your questions, you won’t find it here…at least not entirely.
Crafting a Final Season (39:02): Another great feature, this time a documentary about the last season (although it really focuses on the last episode). I loved that they involved some creators from other shows. Some of this was a little dry, but when they started talking about the difficulty of how to end the series, it got really interesting.
A Hero’s Journey (9:03): This is more of a straight-forward “Lost in 8:15” and takes an aggregate look at the show.
Lost on Location (28:57): I found myself a little bored with this feature since I wasn’t really interested in the making of specific episodes. Six episodes are looked at a little closer and we get some specific tidbits, but nothing earth shattering.
See You in Another Life, Brotha (8:56): Various cast members show up to talk about the alternate world they created for the sixth season. Not much insight here, just the cast talking about it in general terms.
Deleted Scenes (10:02): Deleted scenes on TV shows are usually nothing noteworthy and these are no different.
Lost Bloopers (3:59): The bloopers were kind of fun, just to see what moments and scenes caused the actors to mess up or laugh.
MGM Home Entertainment has announced that the 1979 classic action film MAD MAX, starring Mel Gibson, will be released on Blu-ray October 5, 2010. The release has been supped up and will include a remastered audio track, the original Australian track and even a track that has been dubbed for American audiences so the audience can understand the dialogue and accents present in the film. And in case you missed the movie sometime in the last 30 years, the plot revolves around a cop (Gibson) seeking revenge for the murder of his family against a biker gang in Australia. The film will be available in a BD/DVD combo pack and has a list of special features that include:
“Road Rants”: Trivia & Fun Fact Track (on the DVD)
Filmmaker commentary by Jon Dowding, David Eggby, Chris Murray and Tim Ridge
“This about all: to thy own self be true.” These words spoken by Polonius are also true of the direction of Kenneth Branagh. His gut and drive are what make his adaptation of William Shakespeare’s HAMLET what it is. This is one film that I am always truly in awe of. The biggest reason behind my admiration would be the beautiful scenery and sets involved with the production. The entire cast is also put together so meticulously, but the brightest star of them all is most certainly Branagh in his portrayal of the title character.
Everyone should know the story of Hamlet. Most people are required to read it as part of their high school English curriculum. There’s another part that has been largely exposed to the theater production, as it is one of Shakespeare’s most performed plays. The last half I’m sure have just heard of Hamlet from various places, or even watched one of the films in class or on television. My point is that HAMLET is possibly the most known play in the Shakespeare catalog. It’s almost impossible these days to find anyone who hasn’t been exposed to the tale in some form or fashion. Branagh brings his own touches to his version that pay off in a huge way. In general, the language used in Shakespeare’s work easily puts off people. It’s never a breeze for anyone, especially me. I actually took a full semester plunging deep into the world of Shakespeare. Sadly though, “Hamlet” was not covered due to the fact that the teacher did not want to just touch on the Baird’s more popular plays.
For those of you who haven’t entered into the secret Shakespeare society, I’ll give you a brief rundown over HAMLET (even though that’s a task within itself). After the mysterious death of his Father, Prince Hamlet immediately has to deal with the fact that his Mother and his Uncle have decided to marry. While Hamlet does love his Mother, he also feels betrayed and full of grief over the loss of his great Father. Very suddenly his best friend Horatio and two night guards come to tell Hamlet of a ghost that resembles his dead Father. Upon hearing this news Hamlet immediately wants to see the ghost. The ghost is in fact his Father, who tells him that his Uncle is actually the one that killed him. His Father demands that Hamlet seek revenge at all costs. Hamlet spends the rest of the play planning his attack against his Uncle. This mind-exhausting task takes its toll on his sanity pushing him between what is real and what is not. His wavering sanity is a huge cause for concern amongst his friends and family. While all this is happening, Fortinbras, prince of Norway is planning his revenge against Hamlet. Fortinbras’ Father was killed at the hands of Hamlet’s Father, so in order to exact his revenge he is planning to attack Denmark. Everyone that surrounds Hamlet is struck by tragedy during his path to revenge.
This is perhaps my favorite film adaptation of one of Shakespeare’s plays. The other is TITUS by Julie Taymor, which is also a very stunning piece of cinema. It’s fair to look upon Branagh’s version of HAMLET as many things whether it is a piece of art or just a piece of classic filmmaking. One of the most eye-catching scenes of the film is when Hamlet (Branagh) is standing between the throne of the King and the Queen while thousands of white confetti disks fall upon him. He is dressed in all black with an expression on his face carries the look of woe and melancholy. You sense that every tiny detail was taken with great consideration and care. Branagh kept true to Hamlet, while bringing his own style to the story and direction.
Besides the performance of Branagh, there is never one actor/actress that stands out more than the other. This cast is fairly huge and filled with actors from everywhere. There are those who can be plucked out of a crowd and the others are ones that you may remember from other appearances. Julie Christie plays the role of Hamlet’s Mother, Gertrude. She remains as optimistic as she can about her son throughout the duration of her time in the film. With her Motherly sadness and her guilt over the marriage to her husband’s Brother, Christie makes it easy to sympathize with. Derek Jacobi channels the role of Claudius all too well. When we first meet his character, he seems like an okay guy, but as time goes on the string starts to unravel. Jacobi brilliantly displays the tiresome restraint that Claudius holds even after Hamlet reveals him. As Ophelia, Kate Winslet borders the lines of innocence and naivety. When Ophelia goes mad after the intermission, Winslet never plays it too over the top. You can sense her pain and yet somehow feel uncomfortable when she starts to ramble. Another notable player would be the late Charlton Heston who steps out of himself and gives a great speech as the player King of an acting troupe. Other names you may recognize that give wonderful performances in the movie are: Billy Crystal, Richard Attenborough, Judi Dench, Gerard Depardieu, Nicholas Farrell, John Gielgud, Jack Lemmon, Rufus Sewell, Timothy Spall, and Robin Williams.
Again, I encourage you to pick this up, even if you don’t buy it. I know a lot of people don’t tend to give 4 hour movies repeated viewings. It’s such a magnificent work that really sets a bar not only for adaptations of classics, but also the filmmaking industry as well. Another reason a viewing of this film is important lies in the fact that the plays of Shakespeare as well as many others are getting lost in the generations. The younger audience is less interested in history and therefore loosing the grasp on the structure of literature. These are stories that need to continue to be told until we are all taken from this Earth. We do not want people to become void of a genuine experience, left to quote HAMLET like Michael Grates in REALITY BITES, “They find his skull in a grave, and they go…’Oh, I knew him, and he was funny.’” No one wants that.
BLU-RAY REVIEW
Video: Not to sound like a robot, but the colors are gorgeous. This is one of those instances where Blu-ray really pays off. Everything is nearly perfect and maybe at times too perfect. There was a nice balance throughout the duration of the film. The only times I saw a problem were during nighttime scenes. Otherwise, the video transfer is crisp and clean. (2.20:1 Widescreen).
Audio: The audio here is right on. At some points it was a little unbalanced with the loud booms and cheers, but then again it leaves you with the feeling that you are right there. (5.1 DTS-HD).
Commentary with Kenneth Branagh and Russell Jackson, Ma, PhD, editor of The Cambridge Guide to Shakespeare on Film and Professor of Drama and Theatre Arts at The University of Birmingham (12:00): Usually I’m like, “Commentary…sigh.” A lot of the commentary I’ve listened to lately is not really worth the time, especially with the more dated films. However, you’ve got to at least listen to this one once. I know the movie is insanely long, but it’s worth the time. Branagh is so passionate about this film and you can really hear it in his voice. Jackson is the perfect balance and gives a great insight.
Introduction from Kenneth Branagh (7:50) The director/star talks about the production and vision of the film. He also details the emotion of the process of getting the film out on DVD. Filmed in 2006.
To Be On Camera: A History with Hamlet (24:34): This feature was released when the DVD came out in 2007. The good thing is you get interviews with the majority of the cast. There are a lot of funny comments made as well, the best about Gerard Depardieu. Also any moments with Billy Crystal are good moments. You may also experience TITANIC flashbacks when you see a younger Kate Winslet.Filmed in 1997.
Vintage Cannes Promo (12:07): A little piece put together for the Cannes Film Festival.
Blu-ray Book: Honestly, this was my favorite part about receiving the Blu-ray. The packaging is beautiful and is a nice little companion piece. There are 35 pages here covering the cast, trivia, and the journey to Hamlet walked by Branagh. If you are a fan of Shakespeare or any of the actors, run, don’t walk to pick this one up and add it to your collection.
Magnolia Home Entertainment has announced that the action thriller CENTURION, starring Olga Kurylenko and Michael Fassbender and directed by Neil Marshall, will be released on Blu-ray November 2, 2010. Set in A.D. 117, the film follows a platoon of soldiers, led by Quintus Dias (Fassbender), who must find a way to survive behind enemy lines, rescue their General and make it back to their homeland. CENTURION had a limited US theatrical release in August, but was released internationally earlier this year. The film will be released in a BD/Digital Copy combo pack, and has a list of special features that include:
The greatest strength of this film happens to also be its greatest weakness. Director Daniel Barber told a realistic story about an old, decrepit man that carries out some vigilante justice in his crime-stricken neighborhood. Harry Brown (Michael Caine) isn’t Superman and doesn’t instantly get superhuman strength; he’s an old, tired man that has health issues and is limited by his aging body. While I respect the realistic telling, the unfortunate side effect is that the whole film lost a lot of “oomph” that other revenge-themed films deliver on. Yes, it’s nice watching bad guys die, but when your lead character passes out while running after one of them because he’s so old, the sequence loses some of its luster.
Aside from the lead character being a realistic old man, the story follows the typical man-on-a-mission synopsis we’ve seen several times before, most recently by Mad-Mel in EDGE OF DARKNESS or Denzel in MAN ON FIRE. We quickly realize Harry Brown is a lonely man with nothing to lose, which means he has no fear. Then the thugs kill his best friend, which gives him a reason to be violent. Then we learn that he was a former marine officer, which legitimizes his murdering skills. None of that is anything new to the genre and it’s all stuff we’ve seen several times before. So the focus turns to how well they deliver with the violence and that’s where the film stutters.
To be fair, I was okay with some of the killings when they first started. Although Harry’s hesitation didn’t make a whole lot of sense, the killings themselves worked for what they were. It wasn’t until the tunnel scene that I started questioning how Harry was going about exacting his revenge. Up until that point, the tunnel was packed with thugs, but when he shows up, it’s just the two guys he wants to kill and their girlfriends. But okay, I’ll buy that; why didn’t they just open fire and start shooting? Or better yet, why didn’t he open fire and speed up the process? I guess the point to these questions is that the scene felt awkward and they could have done more with it. But that scene brought us into the grand finale, which took place in the midst of a giant riot against the police. This again felt a little over the top, which led to what I felt was an unfitting ending.
It was refreshing to see an action film with an older actor actually acknowledge the actor’s age and then incorporate that into the film. In the days of a 60-year old Sylvester Stallone doing the same stunts of a 30-year old Jason Statham, I liked the fact that Daniel Barber told a realistic story. However, that representation of reality needed to be continued with other aspects of the film, along with some more creative “action” scenes. Few things in film are more exciting than watching the good guy kill a deserving bad guy, which makes the death scenes in HARRY BROWN that much more frustrating.
BLU-RAY REVIEW
Video: We get a nice video transfer here, which was very surprising given the independent British quality of the film. But the transfer was consistent throughout and looked wonderful.
Audio: The audio was also impressive and delivered an even mix with great effects and clear dialogue.
Commentary with Michael Caine, Daniel Barber and Kris Thykier: This commentary isn’t as great as you might expect it to be, but they give an average commentary and cover the normal commentary elements.
Deleted Scenes (17:11): Nothing special with these scenes and most would have dragged the story out, so it seems they were cut for pacing reasons.
“I like rich people. I like the way they live. I like the way I live when I’m with them.” This is one of my favorite snotty, but true quotes from the 1965 musical THE SOUND OF MUSIC, which stars the timeless Julie Andrews. Twentieth Century Fox Home Entertainment has just announced that this classic will be released on Blu-ray November 2, 2010 in a 45th Anniversary Edition. The film has been restored and remastered and will be available in either a Limited Collector’s Set or in a three disc combo edition. Both editions will be packed with a list of special features that include:
Your Favorite Things: An Interactive Celebration — all-new immersive viewing experience with behind-the-scenes images, on-screen lyrics, trivia track and location quiz
Musical Stages: Creating The Sound of Music — all-new interactive “backlot tour” with in-depth featurettes on the songs, the stage show & movie, the film and sound restoration and the real-life von Trapp family
Vintage Rodgers & Hammerstein and The Sound of Music programs, including a parody with Carol Burnett and Julie Andrews, and an interview with the real Maria von Trapp on The Julie Andrews Hour
Rodgers & Hammerstein: The Sound of American Music, hosted by Mary Martin
Audio commentaries with Julie Andrews, Christopher Plummer and director Robert Wise
A City of Song — virtual map of filming locations in Salzburg, Austria
Music Machine Sing-Along
Screen tests, rare treasures, interviews, photo galleries and more
BD-LIVE:
Live Lookup Powered by IMDb
The Limited Collector’s set adds the following:
Snapshots from Salzburg
100-Page “My Favorite Things” scrapbook
Reproduction of the original 1965 Souvenir program
45th Anniversary soundtrack
Exclusive “My Favorite Things” Music Box with letter of authenticity
A pushover real estate developer (Brendan Fraser) ends up in the middle of a woodland area that his boss is dead set upon turning into the next suburbia. If toughing out this drastic change wasn’t hard enough for him and his family, the local animals start coming out of the woodwork (I had to) to ensure this project’s demise.
Dear God where to begin. I’m not a fan of this animal craze Hollywood keeps clinging to with an iron fist. Watching animals do “cutesy” things, operate hi-tech machinery or in this particular case, lay siege to anyone or anything that messes with their forest homes doesn’t particularly impress me. Most of the animals found in this film are brainless pests in real life so watching them outsmart people, act surprised with eye bulging expressions, communicate to one another through a series of clouded blurbs and then pull off some insane booby trap action that would make MacGyver himself jealous with envy, came off as loathsome and ridiculous in my books.
To add insult to injury this story has been done a million times in both cartoons and film so having to sit through it again is a mind numbing slap in the face. We live in a day and age when the envelope must be pushed each and every day or audiences lose interest. I lost interest in this film after seeing the cover but it was only after the initial five to ten minutes that I began wishing I would suddenly go blind and deaf. The dialogue in this movie is pure murder and by that I mean they simply kill each and every attempt at humor by redoing the same lame jokes over and over until I shook my head and whispered, “Seriously, another poop joke?” Everything was overacted cheesed up here, brutally at that.
I’m mostly disappointed in Brendan Fraser. What happened to you Brendan? ENCINO MAN was a great way to come into the biz, sure you stumbled a bit with stuff like GEORGE OF THE JUNGLE but the first MUMMY film was a complete and total redeemer. That series started to lose its edge by the second (and was totally dull by the third) but at least you still had your dignity man! I was mortified to discover that Jeremy Piven was originally set to lead (Steve Carell also but that I could see), thankfully he didn’t or I would have a hard time enjoying ENTOURAGE. The only saving grace this film had talent wise was Ken Jeong (who’s always funny and a delight to see) but it pained me to see him here as this film is so far below him.
FURRY VENGEANCE stank to the high heavens with an uncanny vengeance. Some might try to defend this film in a “oh, but the kids will love it” sort of way but don’t believe the hype as any kid old enough to distinguish between cute animals and what’s really happening on screen will quickly lose interest. This film is not worth your time anymore than it was worth the time of those sad souls involved so don’t waste your money or your brain cells here as it would be about the equivalent to sniffing glue…no offence to glue.
BLU-RAY REVIEW
Video: 1.78:1 Widescreen in 1080p HD with AVC codec. The landscape looked fantastic in HD but that’s about all the flattering feedback I can give.
Audio: 5.1 DTS-HD in English, French and Spanish with the same subtitle options. Listening to the animals jabbering wasn’t nearly as annoying as the human jabbering.
Commentary (1:31:19): This commentary with director Roger Kumble, Brendan Fraser and Brooke Shields is hilarious as they all try so hard to glorify (and justify) this steaming nugget of crap. Thankfully we can’t see them as I doubt they could do so with straight faces.
Deleted Scenes (6:11): Three words: Brendan Fraser naked. No, it’s not flattering, anymore than extra screen time with him in his “yum yum” pink jumpsuit was. Terrible.
The Pitfalls of Pratfalls (9:57): Here we get the director explaining how and why Brendan Fraser was the guy they wanted (after Piven and Carell said no of course) as he fit the bill physically as far as all the zany animal abuse was concerned.
Working with Animals:A Profile of Kenn Beggs (8:42): Here we have animal trainer Kenn Beggs giving away all his trade secrets about how he gets these animals to walk the walk. I find it curious how they all go on like this was the first film to do something like this.
Gag Reel (3:54): There’s a lot of yelling and gibberish found herein but most of it is quite sad and just plain awful. Shame on them for implying this was funny.
Previews: There are a couple trailers that play before the feature as well as a DVD version of the film.
Sony Pictures Home Entertainment has announced that the 1999 comedy BIG DADDY, starring Adam Sandler, Joey Lauren Adams and Jon Stewart, will be released on Blu-ray November 9, 2010. The film follows Sonny (Adam Sandler), a lazy almost lawyer who “adopts” a kid to impress a potential girlfriend (Joey Lauren Adams). He soon realizes what it means to be a father and quickly grows up to be a decent role model. I remember liking this film when I first watched it at the theater, but disliking it every time I re-watched it. Not one of my favorite Sandler flicks, but not the worst either. There’s a short list of special features that include:
Throw together three attractive women, crazy stunts, awesome music and an extraordinary amount of slow motion shots and you have the 2000 film CHARLIE’S ANGELS, directed by McG and based on the 1970’s show of the same name. Cameron Diaz, Drew Barrymore and Lucy Liu are Natalie, Dylan and Alex, the crime-fighting, world-saving trio who work for Charlie, a multi-millionaire who communicates his missions via voice box. These women alone are the only ones who can stop the mastermind, played by Sam Rockwell, as he plots to take over the world’s right to privacy with his high-tech computer voice identification program.
CHARLIE’S ANGELS was one of those films that is fun, colorful, has lots of action and surprisingly enough, holds up pretty well ten years later. Sure, it’s full of some over-acting and cheesiness, but overall it’s still a good time. I think a lot of this is due to Bill Murray who plays the charming and oblivious Bosley (which may be a reason the sequel was unbearable) as well as the fabulous performance from Sam Rockwell. Oh, and let’s not forget Crispin Glover as the cool Thin Man. He really is a great bad guy who should be doing more in Hollywood.
One of the best things about this film is the obvious campiness which is done so well. In many places it went over the top and held nothing back which was a risk but they managed to pull it off. The actresses and actors don’t really take themselves seriously and you can tell they had a good time filming this movie. CHARLIE’S ANGELS could have easily been a complete bust if it would have been cast differently, but this ensemble pulled it off with little effort. We even get some nice smaller performances from: Luke Wilson, Matt LeBlanc and Tim Curry.
However, admittedly, this film does have some flaws. Although, the punning throughout the film is fun at first, it does get really old after a while, as does some of the dialogue. This film really leaves nothing to the imagination and spells everything out to you through dialogue and voice overs. If you can get past this then you’re almost home free. The other thing that will really hold you back is if you have an aversion to any of these actresses, and if that’s the case then I would go ahead and skip this film altogether. There is no shortage of these three ladies and their parts are equally split throughout the film. Oh, and the wire work was a bit over the top as well, but that’s not a big deal now like it was in 2000 when that was in all the movies for those few years.
Overall, CHARLIE’S ANGELS is a pleasing combination of MISSION IMPOSSIBLE and SPICE WORLD, as in cool spy stuff and action mixed in with a lot of girl power. Even though it definitely has its flaws, it’s still a fun flick to throw in on a Friday night with a bowl of popcorn. Plus the music is great-I mean really, how can anyone hate a film that can throw in some Prodigy as well as Sir Mix-a-lot and still make it work?
BLU-RAY REVIEW
Video:McG lays on the style pretty heavy and it comes through beautifully in this Blu-ray. This really is a great transfer.
Audio: The audio is just as impressive with surround channels being put to the test, especially during the action scenes.
Commentary with Director McG and Cinematographer Russell Carpenter: These guys really keep the ball rolling and actually give us some good technical stuff to absorb. Cinematographer commentaries are usually interesting and this is no exception. There are some really good insights so this is really worth a watch.
Deleted Scenes (4:42): These didn’t add anything to the overall plot, however, we did get to see some more interaction between Curry and Murray which wasn’t necessary but still fun to watch. We also get some other various scenes that were rightfully cut.
Outtakes and Bloopers (2:39): These were very similar to the ending credits and gave very little more, too many movie clips and not enough bloopers. They really shouldn’t have added this.
Getting G’d Up (6:32): This was a short featurette of McG directing various scenes and then the cast and crew telling us how awesome he was to work with and how much they loved working with him. He seemed to have a great energy on the set, which may have been fun if you were there but looks exhausting and annoying from our perspective.
The Master and the Angels (7:25): Cheung-Yan Yuen is the master of the martial arts in the films and this is a featurette about him and his work on the film. This includes a lot of behind the scenes stuff which is always fun to watch, and of course the obligatory training montage.
Welcome to Angel World (4:48): This was about the over the top world they built for the Angels. It’s almost a comical world and very scene specific, this was actually interesting to watch.
Angelic Attire: Dressing Cameron Drew and Lucy (3:25): Obviously, this is about the wardrobes in the film, there were some cool costumes and this was short enough that it was an enjoyable.
Angelic Effects (6:45):This is about the special effects in the film, now obviously this is dated but it’s actually kinda cool to watch just to see how far technology in film really has come.
Wired Angels (2:35): All about the wire work, which like I said before I remembered as being a bit cheesy but wasn’t as bad now as it was back then. This is a raw scene of the fight between the Angels and Thin Man in the alley.
Music Videos: “Independent Women Part 1” by Destiny’s Child and “Charlie’s Angels 2000” by Apollo Four Forty
It’s no secret that I love Kurt Russell. He has played some of the most iconic characters of all time. Snake Plissken is one of his best and incidentally one of his own personal favorites. He is the reason this film works as well as it does, however the more it dates the less it holds up, but I still appreciate the premise.
Snake Plissken is a patch wearing bad dude who has countless heroic medals but has been convicted of a crime for mostly marching to a beat of his own drum, meaning, he does what he wants. By 1988 crime had risen 400 percent so by 1997 (when the film takes place) the government has turned New York’s entire Manhattan Island into it’s own prison, guarding the water around the borders. Criminals get in but they don’t get out. Some freedom fighters kidnap Air Force One and crash it into Manhattan Island. Snake is offered a full pardon if he can rescue the surviving President of the United States and the confidential items that are locked in a brief case and handcuffed to his wrist. In order to make sure Snake follows through, the officer in charge injects a chemical in him that will kill him in 24 hours if he hasn’t returned. Snake is given a variety of Bond like weapons to achieve his mission of infiltrating the prison, fighting off the crazies and rescuing the President safely.
So some of this is a bit ridiculous since we are currently 13 years past the future in which the story takes place, but it’s important to remember ESCAPE FROM NEW YORK was made in 1981. How is 1981 supposed to know that by 1997 information would be put on a disc rather than a cassette? Or for those in 2010 looking back with our iphones using the Internet to visually and audibly send information anywhere we want instantly? So yes, the film is clearly dated but that is the risk that is ran when making a film in the not so distant future and relying on current technology rather than creating new possibilities.
A few unlikely stars show up as well. Oscar Winning Ernest Borgnine as a helpful goofy cab driver name Cabbie, Harry Dean Stanton as the smart guy named Brain, musical artist Isaac Hayes as the prison villain named The Duke and THE GOOD, THE BAD AND THE UGLY’s Lee Van Cleef all round out the colorful cast. Even though Russell holds strong as one of his coolest characters and delivers some fun scenes in an interesting futuristic idea, ultimately the film just doesn’t stand the test of time.
BLU-RAY REVIEW
Video: (Widescreen 2.35:1) The black levels are pretty heavy even for a dark sci-fi film.
Audio: (5.1 DTS-HD Master Audio) Not bad, the score by John Carpenter is simple but effective for the futuristic feel. Not too many stand out surround sound moments.
This Blu-ray offers nothing special except for an extra DVD copy of the film, which is probably nearly as good. If you are a fan of the film grab it from the ten-dollar bin but I want and expect more from this classic.
Three young friends living in the dead end town of Cemetery Junction, England during the 70s are all looking for a change in life, even if a couple of them don’t yet realize it. Freddy’s new job holds the promise of a brighter future but his vision becomes clouded by his friends and his rekindled affection for a childhood sweetheart who just happens to be engaged as well as his new boss’ daughter.
CEMETERY JUNCTION was unknown to me but I’m not surprised as a lot of British based films and TV shows generally fly below radar. Ricky Gervais and Stephen Merchant (two actors made famous by one such TV show, EXTRAS, which I discovered by accident and ended up really enjoying) co-wrote and co-directed the film which gave it merit in my opinion and definitely helped the comedic bits flow as Gervais’ style of humour was all over it. Gervais in particular played a small role but despite playing a deadbeat father, his few lines were gold in the funny bank.
What humour there was (I wish there’d been more) carries the film rather well through the dramatic odds and ends. The storyline, values, drama and conflicts were a connect the dot series of clichés that have been done so much better in films like GOOD WILL HUNTING for example. The struggle with becoming worthless and living out a life of mediocrity is a common worry in us all but I fail to see the need for yet another film based upon it. The dialogue here is “win or lose” depending on how much (if at all) you enjoy British flicks and or humour. Some of it grows on you for sure but as with EXTRAS, there are cringe-worthy moments that don’t make a lot of sense.
The acting was decent for a bunch of dudes who’ve mostly starred in TV roles and then you have Ralph Fiennes (who’s mostly starred in HARRY POTTER roles lately) making a dull appearance alongside WATCHMEN’s Matthew Goode and the once hot but now frumpy Emily Watson (a shame). Fiennes and Goode have real acting potential but seem to be struggling when it comes to finding decent roles lately. Fiennes’ Potter bus will be leaving the station here soon so he needs to revisit some of his old swagger from films like RED DRAGON and even STRANGE DAYS (if you remember that one).
CEMETERY JUNCTION isn’t all bad for a film you’ve no doubt never heard of and hence don’t really care too much about seeing but even then it’s only a rental and only watchable if you can tolerate British style comedy. I liked Merchant’s brief cameo at the winner’s ball but would have liked to see he and Gervais both have some more screen time (then again, I guess they didn’t want to force their way into the film). The dramatic and romantic sides of this tale play out exactly as I figured they would (it’s quite obvious) but I’ve seen worse endings. Besides, if for no other reason, you should watch this movie simply because of Snork’s tattoo which was one of the funniest things I’ve seen in a long time.
BLU-RAY REVIEW
Video: 2.40:1 Widescreen in 1080p HD with AVC codec. I don’t know much more about the 70s than I got from movies and THAT 70s SHOW but from what I could tell it was well done and looked legit.
Audio: 5.1 DTS-HD in English and French with the same subtitle options. I can’t help but laugh at British cursing as most times I have absolutely no idea what they’re saying but it still sounds cool.
Commentary (1:34:35): There are two commentaries; one with Ricky Gervais and Stephen Merchant which is funny as hell thanks to this great duo and the second is equally well done and noteworthy as the three main cast members take it away, something most films fail to include these days.
Deleted Scenes (13:36): Most of this is junk but the extended scene with Freddy’s family and the funeral appointment scam were pure gold.
Blooper Reel (13:42): This is the longest blooper reel I’ve ever seen which wouldn’t be so bad if it was funny. The British must do things a little differently.
The Directors: A Conversation with Ricky Gervais and Stephen Merchant (15:07): Here the boys give us a making-of segment where they explain how this film was a long time coming. I thought it would be funnier but the guys said they distinctly went away from standard comedy.
The Lads Look Back: The Stars Discuss Cemetery Junction (10:14): Here the three lead actors reminisce about their auditions, meeting Ricky and Stephen and their real chemistry on and off set. These guys had a blast.
Seventies Style: Production and Costume Design (8:44): I thought they did a great job bringing back the seventies but the real deal closer for me was wardrobe, music and dancing in the nightclub.
Production Featurettes (6:45): This is just another brief making-of piece that breaks the film down in weekly intervals.
Previews: There are six very decent trailers to choose from.
Anchor Bay Home Entertainment announced that the film THE DISAPPEARANCE OF ALICE CREED will be coming to Blu-ray on November 23, 2010. The thriller stars up and coming actress Gemma Arterton, most recently known for her roles in the summer blockbusters CLASH OF THE TITANS and PRINCE OF PERSIA: THE SANDS OF TIME as well as last years PIRATE RADIO. Arterton plays the daughter of a millionaire who is kidnapped but doesn’t bow down to her captors. The film had a limited theatrical release earlier this month but premiered at the Toronto Film Festival. There’s a short list of special features that include:
Details have been announced for the Twentieth Century Fox summer action film PREDATORS, starring Adrien Brody, Topher Grace and Laurence Fishburne, and it will be released on October 19th with a digital copy included. Directed by Nimrod Antal and produced by Robert Rodriguez, the film revisits one of the favorite monsters from the 80′s but with a new twist. Seems that this time a group of unsuspecting humans (who are deemed killers on Earth) end up on the Predators planet and the predator/prey role is reversed, or is it? The release has a long list of special features that include:
Fox Movie Channel presents: Making a Scene (BD-exclusive)
Evolution of the Species: Predators Reborn
De-Cloaking the Invisible: Alien Terrain
Intelligent Design: The Hunting Camp (BD-exclusive)
Predators as Prey (BD-exclusive)
Bloodline (BD-exclusive)
Rite of Passage (BD-exclusive)
Yuatja Transformed (BD-exclusive)
The Chosen Featurette (BD-exclusive)
Nine deleted and extended scenes (BD-exclusive)
Commentary by producer Robert Rodriguez and director Nimród Antal
Motion comics:
“Moments of Extraction” – Robert Rodriguez presents exclusive prequel vignettes voiced by the cast of Predators. Witness the secret adventures that turned our world’s most ruthless killers into the ultimate Predator prey:
Remembering back to 1998, I distinctly recall being a fan of Jennifer Lopez after OUT OF SIGHT. Despite the lame pop songs and the blah romantic comedies, I felt J-Lo had a great screen presence and I always enjoyed her performances, even if I wasn’t terribly impressed with her films. But somewhere post-Bennifer, Lopez lost whatever it was that made her enjoyable in movies and THE BACK-UP PLAN continues her streak of horrible films and second rate performances.
But it’s not like the film was ripe with opportunity. The idea of a man and woman meeting and falling in love shortly after the woman gets artificially inseminated is awkward before the first scene is even filmed. No matter who you have playing in the lead roles, there’s always going to be this level of discomfort that exists in the film. Therefore, the screenwriter has a great burden to write likable, fun characters that the audience can relate to. In this case, screenwriter Kate Angelo didn’t come close. Temporarily ignoring the uninspiring performances from Lopez and Alex O’Loughlin, the characters we should have been rooting for were shallow and poorly developed. We knew next to nothing about them or their motivations and that put extra pressure on the two lead actors that seemingly couldn’t be bothered to add anything to their characters.
Missing all of his TV performances, this was my first exposure to Alex O’Loughlin and my initial thought is that he’s not ready to be a leading man. Every line was delivered awkwardly and out of rhythm. Part of that is poor directing, but the other part is O’Loughlin not being able to relate or understand his character. A guy dealing with the frustration of falling in love with a woman who is having a kid from another guy is a tough, tough concept and there were times his character could have used some inspiration and some emotion. But we didn’t get that and therefore, the audience couldn’t connect with him. J-Lo was just as bad and despite numerous movies, J-Lo’s timing couldn’t have been worse and she looked so fake and unnatural that her appearance didn’t fit the character. I understand J-Lo always looks good in real life, but her character didn’t seem like that and having her with perfect hair and make-up right after getting soaked in the rain was an insult to the audience.
As with all romantic comedies, THE BACK-UP PLAN had a handful of supporting characters that were there to provide some quick laughs. But I was confused as to their purpose since it felt like the filmmakers went out of their way to include them in the film. Anthony Anderson appeared a couple of times as a random father on the playground. He would have worked much better as the best friend and needed a bigger role. J-Lo’s best friend, played by Michaela Watkins also had some good lines, but again, her role was too small and was never fully explored.
I understand rom-coms are meant to be cutesy and provide some feel-good romantic moments to the audience, so nitpicking on specific plot points is pointless. With that in mind, the ending came together in ridiculous fashion. We had the quick break-up-then-realize-they-love-each-other, but the whole thing was forced to an obnoxious degree. By the time the ending came around, I didn’t want them to be together because I was afraid the filmmakers would have them break-up again, and then the movie would never have ended.
BLU-RAY REVIEW
Video: Surprisingly enough, the video looked really, really crisp. This is one of the better transfers from Sony, despite being one of the more disappointing films.
Audio: The audio wasn’t quite as nice, but it was sufficient for the dialogue.
Deleted Scenes (5:12): I would say these were on par with the quality of the film, which of course means they were pointless and unnecessary. Plus, we get more Alex O’Loughlin, which by this point was too much.
Belly Laughs: The Making of The Back-Up Plan (11:36): We got off to a bad start when Alan Poul tells us he laughed out loud at the script and then cried at the end. Did he read the right script? After that, we get the typical making-of featurette.
Sony Pictures Home Entertainment has announced the summer comedy GROWN UPS, starring Adam Sandler, Kevin James, Chris Rock, David Spade and Rob Schneider, will be released in a BD/DVD/Digital Copy combo pack on November 9, 2010. The film follows five friends who get together for a long weekend many years after they’ve grown up. This film was a hit this summer, although I guess that’s not surprising since it was an Adam Sandler film. I’m still shocked at how much money this guy can pull in with a film, even though the majority of his movies star a lot of the same people and the plots never vary too much. Anyhow, the film has a list of special features that include:
Nineteen year old Malik el Djebena (a young and very green Arab kid) is sentenced to six years in a French prison. He’s quickly cultured in the way of things as soon after his arrival he’s forced to kill another inmate in exchange for protection from a Corsican gang. Malik quickly gets the hang of things and begins a rise to power unlike anything he’d ever dreamed of.
I’ll be honest in that I loathe films with subtitles. Yes, on the one hand, after awhile you forget they’re there (if the movie’s good of course) but I find trying to read the words and watch the screen tedious. It can start to feel like work rather than a relaxing watch. That said, this was thankfully an engrossing watch and the subtitles were quickly forgotten. I enjoyed A PROPHET but I can’t help but wonder why this film needed to be made. Films like this take themselves seriously and usually try to prove a point but we’ve seen this scenario countless times before (of sorts), lately even, with stuff like PRISON BREAK, FELON (which I really liked) and the upcoming STONE with Ed Norton coming out later this year. So again, regardless of its pros and cons, I still have to ask why?
On a positive note I dug Malik’s character. He’s the poster boy for underdog and despite him being guilty of a crime and sent to prison, you can’t help but like the kid. They make it painfully obvious that Malik doesn’t want to make his first kill and what I loved about it was the whole DEXTER angle they played with in the aftermath. Talking to his victim (who isn’t really there but we see him) as a means of coping with the impending madness of it all is a sobering sight in my opinion and I especially dug the smoking scene where the dead dude’s exhaling through the razorblade gash on his neck which freaks Malik out a little.
I also dug Malik’s deer vision though I have to say I was perplexed by where it was headed at first. I’m also rather confused about this particular prison system. These inmates seem to eat better than most people, have access to all the drugs they can handle, TVs and even DVD players. Malik even gets to bang a chick in his cell. Add to this that Malik’s rise to power (from a scrub nothing) seemed pretty easy if you’re willing to take a life…which he had all the help in the world with. The real irony is that Malik didn’t want to do it and even tried to rat them out a couple times and they still didn’t kill him for it. I’ve seen some pretty hardcore prison movies and I have to say this was not one of them.
A PROPHET was a cool watch for someone like me who digs prison flicks but when I think of prison I keep wondering when the Toss Salad Man’s going to start terrorizing the new guy or shanking him in the face. This prison didn’t feel all that tense and almost seemed like it could make Gods and gangsters out of anyone there, on the inside and on the outside. I also wasn’t crazy about the ending but see the sense in it I suppose. This flick isn’t for everyone and is far from perfect but it’s worth checking out if you think the way I do and/or don’t mind subtitled films. The pace is spotty and the cast is mostly unknowns (though they all performed well) but if you let yourself get into it you probably won’t be disappointed.
BLU-RAY REVIEW
Video: 1.85:1 Widescreen in 1080p HD with AVC codec. Not much to see in the visual department other than a cold, dull prison most of the time.
Audio: 5.1 DTS-HD in French and German with those, English and Turkish subtitle options. If you speak French or German you’ll enjoy this film much more.
Commentary (2:35:22): Director Jaques Audiard, co-writer Thomas Bidegain and actor Tahar Rahim (Malik) lead us through it and as with my audio input, if you speak French this will be a bit easier to enjoy but if you don’t you’ll have fun with a second set of subtitles. Yay.
Deleted Scenes (10:34): There really isn’t much here and for the most part it’s more of the same and seems easy and logical to cut. To be honest, I feel they could have easily shaved a cool ten to fifteen more minutes off the runtime.
Rehearsal Footage (8:50): Here we get some improve with some of the film’s key scenes from the audition reel. I think Thar Rahim (Malik) was a solid choice talent-wise. There’s also five more minutes of individual screen test footage.
Previews: There’s a theatrical trailer for the feature as well as eight other trailers for flicks you probably never heard of.
Twentieth Century Fox Home Entertainment has announced that IT’S ALWAYS SUNNY IN PHILADELPHIA: SEASON 5, starring Danny DeVito, Charlie Day and Rob McElhenney, will be released on Blu-ray September 14, 2010. The set will include all 12 episodes along with some special features. If you haven’t checked out his comedy yet then you must put it on your list immediately. It’s one of those rare gems that keep you on your toes every episode. This series showcases Charlie Day and Danny DeVito at their finest, and I still giggle every time I think of the steroid episode from last season. Special features on this season include:
Season Five Blooper Reel
Kitten Mittens Endless Loop
Archer Season One Pilot Episode
Schwep Dream Sequence
The Gang’s Dating Profile
Commentaries:
“The Gang Wrestles for the Troops”: Danny DeVito, Glenn Howerton and Kaitlin Olson
“The Waitress is Getting Married”: Charlie Day, Kaitlin Olson and Glenn Howerton
“The Gang Gives Frank an Intervention”: Danny DeVito and Dr. Drew
“The Gang Reignites The Rivalry”: Rob McElhenney, Charlie Day and Glenn Howerton
“Mac and Dennis Break Up”: Charlie Day, Rob McElhenney and Dr. Drew
“The Gang Hits The Road”: Rob McElhenney, Charlie Day and Danny DeVito
Another Nicholas Sparks story hits the big screen in THE LAST SONG. I really liked THE NOTEBOOK and A WALK TO REMEMBER, but the last two film adaptations feel like easy retreads. DEAR JOHN being the first to come out this year and not hit any of the marks. The second is THE LAST SONG, which teetered on a line between likeable and trite. I’m currently still battling my opinion on which one wins out.
Troubled teen Ronnie Miller (Miley Cyrus) and her talkative little brother Jonah (Bobby Coleman) are headed off to a beachfront property to live with their father (Greg Kinnear) for the summer. Ronnie has some built up anger towards life and her father for leaving them after divorcing their mother. Luckily she meets a cute boy name Will (Liam Hemsworth). This quickly becomes more than just a summer fling and their relationship grows, as does the one with her father. More unforeseen problems arise when she finds out her father was accused of burning down a church and diagnosed with cancer, which he had kept secret from his children. Ronnie must learn not to push people away but cherish those that love her and embrace her gift as a talented pianist. Wait, what? Actually they fit that storyline in nicely.
The film narrowly pulls through due mostly to Greg Kinnear who was not utilized enough. He is just so darn likeable that I want the film to work and all the relationships to work within. Ronnie and Will’s relationship takes off a little too contrived and quickly for my taste. As the film progressed I did feel like their relationship was true and strong, however, there were far too many scenes of Ronnie running off angry pushing Will away. It got old. I hate it when bad communication and lack of logical thinking are the dilemmas.
Other than the natural Kinnear, the acting isn’t the best but it isn’t the worst either. Miley Cyrus had bad moments but also had some ok moments. I think with a little more practice she could become a little above adequate. She did a good job of shedding her Hannah Montana child image but then again I have never seen HANNAH MONTANA. I think Liam Hemsworth has a promising future and expect to see him blowing up everywhere. Bobby Coleman as the cute little kid was trying a bit too hard coming off more annoying than funny but I’m sure he will have his fans.
What we have here is a film split with two stories, the young love story and the father daughter relationship, and on both accounts I’ve seen other films do it better. It’s consciously hard for me sometimes to bash a nice, good clean film with positive relationships so if that sounds like your cup of tea go for it, but I recommend watching A WALK TO REMEMBER or the far more mature LIFE AS A HOUSE. They will give you those touching inspirational moments that I wished THE LAST SONG had.
BLU-RAY REVIEW
Video: (Widescreen 2:35.1) A nice clean picture with beautiful ocean line shots.
Audio: (5.1 DTS-HD MA) Sound was clear with great music cues
Audio Commentary with Director Julie Anne Robinson and Co-Producer Jennifer Gibgot: A typical commentary, the two do a good job keeping thing moving. They chat about the actors, story and the making of the film but nothing overly interesting.
Alternate Opening Sequence (2:55): An extension of the short church fire opening.
Deleted Scenes (7:08): Five deleted scenes with optional commentary by the director. All our a bit redundant and unnecessary, so they were wisely cut.
Set Tour With Bobby Coleman (5:06): This is basically a bunch of short interviews with the crew including a producer, make-up artist, hair stylist, craft service, video assistant, grip and security.
Miley Cyrus Music Video “When I Look At You” (4:16): I genuinely really like this song.
The Making of the Music Video with Miley Cyrus (4:20): Director Adam Shankman who also produces the film and is a judge on So You Think You Can Dance leads us through a quick making of process of the video.
BULL DURHAM has become one of the classic sports movies of all time, being immortalized in every list of great sports movies. ESPN talks about it every baseball season and it seems like we always hear about someone gushing over the film. I’m a fan of the film and just when I’m ready to pass it off as being overrated, I sit down and watch again, inevitably remembering how much fun it really is. It’s hard to believe it has been 22 years since this film was released in theaters.
Kevin Costner plays baseball players too well. He captures that arrogance that all ball players have, but always manages to let out a hint of insecurity, causing you to relate to his characters. Although some would argue that Billy Chapel in FOR LOVE OF THE GAME is his best baseball player character, for my money, it’s Crash Davis in BULL DURHAM. Crash is a real person, with real dreams and that brings him to a level that all of us can relate to. The scene where he talks about making it to “the show” on the bus is great, only because it allows us to sympathize with him as a person. One of the things that made Crash so great was his rapport with Tim Robbins’ Nuke LaLoosh and Susan Sarandon’s Annie Savoy. It’s those relationships that make us like Crash Davis and in the end, make us like the movie.
In fact, one could even argue that Susan Sarandon turned in the best performance in the film. I don’t think she’s ever been sexier on camera and her character was a hard one to pull off. To put it bluntly; she’s…promiscuous. But she’s really the character that drives the story, so the audience has to relate to, care for and at the end, root for her to come out on top. A lesser actress could have easily blurred that line and turned the character into a villain of sorts. But that argument could be made for the big three, because without their natural charm and charisma, the film would have suffered. Give credit to director Ron Shelton for realizing the talent he had in front of the camera and for letting them carry the film. And be honest for a second; if you haven’t seen BULL DURHAM in a couple of years, do you even remember any of the baseball scenes? Do you remember any of the games played in the movie? I don’t. I remember the characters, and there’s not too many sports movies where you remember the people playing the games and not anything about the games themselves.
The greatest achievement of BULL DURHAM is how it manages to be so many things at once. It’s funny, dramatic, authentic, touching and at the same time, it manages to develop three characters that are remembered twenty years later. First time director Ron Shelton balances the various elements of the film surprisingly well and the result is a baseball movie that has proven to stand the test of time.
BLU-RAY REVIEW
Video: The transfer is a little disappointing considering how far we’ve come with Blu-ray video quality lately. It’s better than the DVD version, but not by much.
Audio: The sound is better, but again, not so much so that it makes you want to throw away the DVD and buy the Blu-ray.
Note that the Blu-ray contains zero special features, but the DVD that’s included in the set contains all of the below features, making it identical to the DVD special edition. I can understand not bothering with some of the lame features, but the commentaries really should have been transferred over.
Commentary with Kevin Costner and Tim Robbins: This isn’t as great as it sounds because it feels like neither of these guys have seen the movie in many, many years. There are a lot of dead spots, which makes it hard to get into.
Commentary with Ron Shelton: Ron drops a lot of great facts, like the fact he played minor league baseball, and keeps the commentary rolling. This was his first film, so he was very passionate about what he had to say.
Featurettes, including The Greatest Show on Dirt (19:21), Diamonds in the Rough (15:54), Between the Lines (29:17): Normally, I’d review all of these separately, but these were so similar in style that they should have been combined or deleted completely. They’re basically making-of featurettes that show some classic footage as well as updated interviews. I’d pick one and go with it.
Kevin Costner (2:10) and Sports Wrap (2:58): I can’t believe these pass as a special features.
Basically, they’re long trailers for the film and not worth the time.
Speaking at the Celebration V in Orlando today, George Lucas announced that all six STAR WARS films will be available on Blu-ray in 2011 in a giant box set. The films will be available in the fall, just in time to cash in on the holiday sales. And before anyone starts clamoring for the “original” versions of the original trilogy on Blu-ray; it ain’t gonna happen. Lucas clearly stated that the Blu-ray versions will be the “special editions” and that the original cuts of the films were in too poor condition to merit transferring to Blu-ray.
Regardless of how you feel about the new trilogy, getting all six films on Blu-ray is extremely exciting for long time fans of the series. Lucas has repeatedly said that the films have never looked like he wanted them to on home video and now is his chance to deliver them to the world exactly how he wants them to look. Although obvious, George Lucas was quick to tout the greatness of Blu-ray when it comes to audio and video quality.
And if that wasn’t enough for you, he also debuted a deleted scene from RETURN OF THE JEDI (it’s a quick clip of Luke putting his lightsaber together). Watch the scene here. Very cool and now we know what we’ll be spending our money on in the fall of 2011.
Watching DIARY OF A WIMPY KID made me full of happiness and joy to be so far removed from those awkward middle school years…unfortunately for the characters in this film, in particular Greg Heffley (Zachary Gordon) and Rowley Jefferson (Robert Capron) they are about to embark on their first year of middle school and have a lot to learn beyond the classroom. As Greg attempts to work his way into the spotlight, his sweet friend and side kick, Rowley, continues to be true to himself and manages to come out on top despite Greg’s ‘helpful’ guidance. They attempt everything, wrestling club, safety patrol, school play, and writing comics for the newspaper to find their way into yearbook glory. Throughout their shenanigans we get transported back to the middle school years (or a glimpse into the future for those who have yet to start the wonderful world that is middle school).
This movie couldn’t be more perfectly cast –Gordon does a great job as likeable yet frustrating Greg by delivering the right amount of good intentions to keep you torn between wanting him to succeed and wanting him to learn life lessons. Greg combines every kid’s worst instincts into one; he’s really not a great friend and you wonder why Rowley is so loyal to their friendship. Whoever selected Capron for the role of Rowley deserves a standing ovation. His story line is by far the most interesting one and you cannot get enough of him on screen. What a genuine performance that was delivered perfectly! It was fun meeting a handful of fantastic supporting characters from class spazz Fregley and alpha female Patty, to Greg’s parents (Rachel Harris and Steve Zahn) who are brilliant as the bumbling parents. I wasn’t crazy about the performance of Greg’s older brother, Rodrick (Devon Bostick) but cannot pinpoint what I wish was different about his performance. The only time I was amused when he was on screen was when he shouts “get off of me baby hippo!” to Rowley and when he startles Greg in the bathroom.
The Physical Education scenes were by far my favorite and included a few genuine belly laughs, Zahn’s overzealous attempt at stopping teens from toilet-papering his yard on Halloween made me chuckle a bit too. Loved the routine performed by Rowley and his mom at the dance – so great! Despite those fun moments, overall, I was mildly disappointed in the film and found it to be a bit of a snooze. Granted, if I were the target audience, I might feel differently or if I were looking for a film that kids might like, I would probably suggest they watch this movie. It’s hard to be unsupportive of a film that has the underlining message of ‘be yourself’.
BLU-RAY REVIEW
Video: (1.85:1 Widescreen) Sharp picture, great for the ever changing moldy cheese that continually gets pushed into the storyline.
Audio: (5.1 DTS-HD Master Audio) Nice sound, you can feel the thundering herd of big kids running toward little Chirag in the PE scene.
Deleted Diary Pages: 9 minute long snippets including Fregley’s Scavenger Hunt, Rowley’s Lost Zoo-Wee-Mama Cartoons, Greg Has the Cheese Touch, Greg Meets Fregley’s Mom, Mom Suggests a Friendship Card, Mr. Winsky’s Safety Patrol Assignment, Greg and Rowely Jump Over the Wall, Mom Drops Greg Off at School, Fregley’s Shuffle, and Chirag’s Trail of Tears. The only diary pages worth watching are Greg Has the Cheese Touch (this should have been in the film), Chirag’s Trail of Tears and Rowely’s Lost Zoo-Wee-Mama Cartoons. The rest are superfluous. These snippets desperately needed a “play all” button. The wait for each one was annoyingly long.
Feature Commentary with Director Thor Freudenthal and Writer Gabe Sachs: We learn where the movie deviates from the book, random facts about the cast and characters and how they incorporated drawings from the book into the scenes.
There’s nothing like a good movie trailer to get you excited for a film. THE JONESES boasted one of the better trailers I’ve seen in a while, at least when it comes to indie dramas. Of course, the actual film could not live up to the promise of the trailer and the various issues with the film made me long for something greater, especially given how much I love the idea of the film. Luckily, the film featured David Duchovny doing his normal ‘Californication’ cool (which I’m beginning to think is just how he is), which kept the film from turning stale.
The premise of the film centers on four actors/salesmen that are hired by a marketing firm to do some targeted selling in a specific neighborhood. The idea is great, even if I question the idea that four individuals could influence enough sales to justify the cost of keeping them employed, but the idea is an interesting one. The filmmakers had a tough choice to make with the story and they could either focus on the individual emotional toll the job had on the four salesmen and saleswomen or look at the broader picture and focus on the impact their selling had on the town they were in. Director and writer Derrick Borte chose somewhere in the middle, which of course meant that neither storyline was developed to its fullest extent.
Obviously, the theme of the film is that the old saying of “keeping up with the Joneses” is one of the many things that can kill the traditional American dream. The Joneses in the film embody the need people have to buy the latest gadgets or to keep up on the latest trends. The idea of a marketing firm actually hiring actors to live in a subdivision and secretly sell products is brilliant, but the theme is written in the title of the film. Therefore, the burden is on the filmmakers to run with the theme and take the audience somewhere we don’t expect to go. There are numerous side-effects to buying frivolous things, but the filmmakers used their neighbors as the only example. We needed more tragedy coming from what they were doing and we needed to see the negative impact their actions had on the school, their friends and the local businesses.
The subplots with the “kids” (Amber Heard and Ben Hollingsworth) were too underdeveloped and ended up being distracting. Between the “daughter” having a thing for older men and the “son” realizing he’s gay, I found myself disinterested in both of their plights. Each of their situations could have been its own film and touching on them briefly just took us away from the broader scope of the film. I also failed to understand what the purpose was of having his “girlfriend” involved in a car accident, other than the subtle context that she was drinking one of the products the family was trying to sell.
With all of the problems the film has, the originality of the story and the charm and likability of David Duchovny manage to make this an enjoyable film. Sure, I was disappointed Bort didn’t use the opportunity to make a greater statement on America’s materialistic society and I would have liked more character development, but the ride we got was enjoyable in its own right.
BLU-RAY REVIEW
Video: The transfer had a few problems with colors looking washed out at times. Nothing about the video presentation popped out, leaving the film saturated and dry.
Audio: The sound also had some issues and I noticed some inconsistencies with the dialogue volume throughout the film.
Deleted Scenes (4:24): In the film, we got a peek at the interview Steve (Duchovny) did to get the job, and here we get the actual interview. I liked it and it might have been a good way to start the film. It would have been a great way to set the tone right off the bat. The other scene featured Duchovny teaching kids to play golf. I’m not sure where they would have put that scene.
Sony Pictures Home Entertainment has announced that the remake of the 1984 classic, THE KARATE KID starring Jackie Chan, Jaden Smith and Taraji P. Henson, will be released in a BD/DVD/Digital Copy combo on October 5, 2010. The film follows the younger Smith as he and his mom move to China where he meets Mr. Han during a scuffle with some kids. Mr. Han teaches him the ways of kung fu so that he can learn to defend himself. I’m looking forward to this particular remake because upon another viewing, the original THE KARATE KID didn’t hold up as well as I remembered. Special features on the remake include:
Production Diaries Hosted by Jackie Chan
Play All Hosted by Jackie Chan
Chinese Lessons – Learn Chinese!
ON LOCATION: The Karate Kid Interactive Map of China
Just for Kicks: The Making of The Karate Kid
Music Video: Justin Bieber Featuring Jaden Smith “Never Say Never”
Warner Home Video has announced that the summer film, JONAH HEX starring Josh Brolin, Megan Fox and John Malkovich, will be released on Blu-ray on October 12th in a BD/DVD/Digital Copy combo pack. The film features Brolin as a bounty hunter who is tracking a terrorist in exchange for his freedom. The film, based on the DC Comics, was a bit of a flop, only bringing in a little of $10 million at the box office and did not go over so well with critics. Since the film was received so poorly, it’s really no surprise that we have so few special features, I’m sure it would have been packed if it had done just a few million better. Special features include:
“There are only two kinds of people in the world, Beatles people and Elvis people. Now Beatles people can like Elvis and Elvis people can like the Beatles, but nobody likes them both equally. Somewhere you have to make a choice. And that choice, tells you who you are.”
That quote from a deleted scene in PULP FICTION is one of my favorites and with that quote in mind, I’m definitely a “The Beatles” person. But that doesn’t mean I don’t like Elvis, because even though he’s become somewhat of a punch line over the last decade or so, it’s impossible to listen to some of his best songs and not have them stuck in your head. But I know a lot of fans out there aren’t familiar at all with his films and even though the films aren’t great by any means, they are a part of American history. I look at Elvis’s films as music videos before there were music videos. A movie like JAILHOUSE ROCK is riddled with problems, but the purpose was to sell records and I can imagine it sold a ton of them.
JAILHOUSE ROCK
Speaking of JAILHOUSE ROCK, the plot is pretty basic; a man gets into a bar fight and accidentally kills his opponent, so he gets sent to the slammer. While there, his cell mate teaches him to play the guitar and pretty soon, he’s on the outside making records and living the high life. The frustrating thing about this film is that it’s set up to be an epic coming of age tale about a musician struggling with his fame. However, it felt like they had to meet a certain runtime and so they cut out half the film and edited around the music numbers. So what’s left is a hodgepodge of a film that doesn’t really go anywhere. With that said, I dare you to watch this film and not listen to ‘Jailhouse Rock’ at least a dozen times the next day.
But the movie is famous for the big ‘Jailhouse Rock’ dance number and it doesn’t disappoint. Like I said, this would have made a great music video back in the day, it’s just a shame it came so far into the movie.
VIVA LAS VEGAS
The second film is in color, but it doesn’t do much better than the first. While JAILHOUSE ROCK tried to add a story around the music, VIVA LAS VEGAS didn’t even try. In the filmmaker’s defense, they had a lot more musical numbers and they also had the talented Ann-Margret doing her own musical numbers as well. In this one, Elvis is a racecar driver trying to win enough money in Vegas to buy a new engine for his racecar. Like Jailhouse, this one came to an abrupt end and didn’t really make a whole lot of sense. But again, like Jailhouse, it’s impossible to watch this film and not be singing ‘Viva Las Vegas’ the next day.
But the most interesting thing about this film is that it’s the only Elvis film I can think of where he has a co-star that’s probably more talented than he is. I think the case could be made that this is actually Ann-Margret’s film, which might explain why Elvis never again had another comparable female co-star.
ELVIS ON TOUR
The last film in this set is just a concert film of sorts, featuring an older, heavier Elvis on his 15 city tour. It’s a little sad to watch this after watching the first two movies because Elvis has really let himself go at this point. My biggest complaint on the film is that we don’t get any of his biggest and best songs and instead get some of the more common covers. I would have liked to see a performance of my favorite Elvis song “Suspicious Minds”, but had to settle for “Can’t Help Falling in Love” (see the video below).
But the best part about this concert film is seeing how absolutely nutty his fans were and how iconic of a person he really was. Elvis would actually stop in the middle of his songs to lean down and kiss one of his adoring female fans. It’s amazing that one man attracted so much love and adoration and the funny thing is; he didn’t write even one of his own songs.
BLU-RAY REVIEW
Video: The amazing video transfers of all three films really blew me away. These aren’t classic, Oscar winning films, so Warner Brothers should be commended for taking such care in restoring these fan favorites. Even the most die-hard videophiles will be amazed at how crystal clear these films look.
Audio: The sound was also incredible and Elvis has never sounded so clear.
Commentary with Steve Pond: Steve Pond is the author of ‘Elvis in Hollywood’, which, as you might have guessed, is an extensive look at Elvis’s movie career. He does a commentary to JAILHOUSE ROCK and VIVA LAS VEGAS and gives a very interesting look at the films, which actually made me think more highly of them than when I watched them. I liked this commentary best when he dove into some of the behind the scenes drama between Elvis and his co-stars, which he tended to touch on, but not dwell on.
The Scene That Stole Jailhouse Rock and Kingdom: Elvis in Vegas (20:00): These are two 20 minute featurettes that quickly go over the famous dance scene in Jailhouse and Elvis’s Vegas legacy in Viva. Both are average, but I enjoyed the Vegas featurette better since I always find the early years of Vegas to be fascinating.
It should be noted that Anna Paquin and Stephen Moyer are also in this failed slasher flick. Why would I not post that in the “stars” section when they are clearly on the cover with top billings? Well it is very clear that the two talented True Blood stars were doing Ms. Paquin’s older brother, director Andrew Paquin, a big favor by staring in this poorly constructed straight to Blu-ray release. They probably have a whopping two-minutes of screen time apiece.
A recently divorced Alice (Rachel Blanchard) is trying to sell her spacious two-story home. When a psychotic couple, David (Brian Geraghty) and Lila (Tricia Helfer) take over the house pretending that it is their own. When people come over, whom they usually invite, they kill them. Meanwhile, David has kept Alice alive, bound and hidden in a cubby space (which appears to have a window that was never utilized for an escape). He has kept her a secret from Lila and uses Alice as a sense of normality during the day while his sociopath of a worse half is away. Will she be able to escape?
I would have loved to reedit and shoot scenes in this film. I’m not claiming to know what I’m doing, but there are some basic things to up the intensity. First, they should have opened the film with a surprise kill during an open house. It could have been done without showing David, keeping the suspense heightened. As it stands, Alice discovers a dead body and then is quickly grabbed from behind. Then we see David and Lila. The story becomes about them playing house right away. This reveal should have been slow. Lets get attached to our hero by spending more time with her feeling the looming danger then drop us onto the villains. Unfortunately, her danger happens immediately then we jump right into the psychos that we obviously don’t care about who lose all scare appeal. With the exception of a couple of kills the murder scenes felt a little anticlimactic but again that goes back to the filmmakers revealing their hand too quickly.
On some positive notes, the score is done well by composer Nathan Barr who is also from the acclaimed vampire series True Blood. Andrew Paquin really cashed in a lot of favors through his little sister. Visually, the shots were well lit with some sharp composition. Technically the film was very sound. The acting was solid all around too, specifically from Rachel Blanchard and Brian Geraphty who really is the main star as a terribly disturbed human being trying to be normal.
Ultimately, OPEN HOUSE lacked anything remotely close to intensity or suspense and had many questionable moments of reasoning. It’s a shame, because with a few pick up shots, a restructure and a completely different edit, the film would have improved immensely from bad to less bad. Instead we are left with a bloody, uninvolved borefest.
BLU-RAY REVIEW
Video: (1080P High Definition 16 x 9 Widescreen 2.35:1) Picture was crisp and clear.
Audio: (5.1 DTS-HD) Sound was decent using quietness with explosive sound mixing devices like washing dishes or stabbing.
Commentary with Actor Brian Geraghty and Director Andrew Paquin: They give a semi-interesting commentary consistently talking about the film. However, Paquin thinks too highly of it and is proud of his wrong choices. He claims the film is more relationship driven than suspense. I agree that there is zero suspense but the relationship drama is poorly conceived when you don’t care about or find the relationships interesting.
Deleted Scenes (9:45): Three deleted scenes that I think add more intensity. I had two jump moments. These scenes are exactly what I described earlier as being sorely needed. This wouldn’t have been near enough but they are better.
Trailer and Previews: Yes! This trailer is proof that there is a scary movie somewhere in here. The trailer actually makes OPEN HOUSE look like an interesting movie and is far better than the actual film. The film should have taken notes from the trailer and told their story in the same order the trailer tells it.
To celebrate the release of his latest film DEATH AT A FUNERAL, (read the Blu-ray review) Neil LaBute was kind enough to sit down and talk to Flix66.com about the film and other projects.
Flix66.com: Thanks so much for speaking with Flix66.com today, Mr. Labute, and congratulations on DEATH AT A FUNERAL. I was wondering, did you decide to come on board after seeing the original 2007 British version by Frank Oz, or was this a project that appealed to you beforehand?
Neil LaBute: I did see it on its release in the states, and it didn’t make a huge splash here on its original release – most people saw it on DVD or paid television – but I did see it in the theaters, and enjoyed it and didn’t think that much after it. But then Chris Rock also saw it on its release and thought it could be made into a picture here in the states. When he got the rights, got a script together, that’s when I got a chance to get involved.
Flix66.com: With the comedians you had in this film, historically outlandish in their stand up and early roles – people like Chris Rock, Martin Lawrence and Tracy Morgan – was it difficult to reign them in for this story which called for the majority of reserve called for in the film with only occasional outbursts? Or have they naturally calmed in their later years?
Neil LaBute: They’ve just gotten better and better as actors. Not just comic actors but actors. Martin and Chris were really happy to work together. I was surprised that they had never really worked together. They were both in the movie BOOMERANG but they never shared a scene together. And now from never working together to playing brothers. They actually liked being around each other and making each other laugh on the set, but as far as letting each of them have their moments, it was not a contest, it was never an issue of any one of them dominating the screen at any time. Chris kind of knew he was playing the straight man, per se, but they each knew in their roles what they were supposed to do, and they each were sure that they would have their bits and they would get their laughs.
Flix66.com: From most reviews, the character that’s gotten the most reaction has been James Marsden’s Oscar, which was kind of the same reaction Alan Tudyk got for that similar role of Simon in the 2007 version of the film. How much of Marsden’s hallucinogenic experience was straight from the script, and how much was you and the screenwriter Dean Craig just saying to Marsden “You’re on a hallucinogenic. Go.”?
Neil LaBute: It’s funny you ask, because there are some situations in the film where we wanted to follow the original and others where we really didn’t want to follow the original. In that first film, Alan did some really funny and very specific stuff, some on the page, but a lot of the time we focused on what he did to make sure James was not doing that. Someone like Martin Lawrence can play his character without seeing the original, play it straight off the page and never mirror the same character in the original, but with James’ character – and how well people responded to Alan’s original performance – his journey was a little different from everyone else’s. But it seemed to work out because as you’ve said people have really responded well to it.
Flix66.com: Peter Dinklage was actually the only character that did both the original and this remake, and I was wondering how much either input he volunteered or how much advice you asked from him specifically, if any? Especially in leaning towards not duplicating the original but still hitting on the key points and the money laughs, and I was wondering how much he contributed in that respect?
Neil LaBute: Peter’s work in the original allowed him to come in knowledgable not only about what he did and how he did it, but also what he felt works and bringing him in allowed him a unique opportunity to reprise the same part, the same character in a film that’s not a sequel. Bringing him in allowed him to reprise the part but he was mindful of how to tweak it for the same story with an American cast and contrasting with a British cast from before. But he did offer insight as far as “This is what happened when we did this…” and it was good to hear those original experiences.
Flix66.com: The actors seemed to have a pretty good rapport on the screen, but I’ve never really seen many of these actors together, especially many of the comic actors. Luke Wilson doesn’t show up in a lot of Chris Rock movies. So I was wondering how that rapport went behind the scenes.
Neil LaBute: I think what was fun for most of these actors was watching the others work. One of the things we did that was helpful to the ensemble getting along was shooting in video… we shot on the digital system, which allowed us to keep shooting, unlike traditionally shooting with film. And minimizing those technical glitches we could shoot longer and allowed the actors to just go, go, go and spill more of their ideas and original aspects to their performance. Another thing we did was, we created, on the set, a green room for the actors. This was a big green room just for the actors right on the sound stage where they could watch the others shooting their scene, and they weren’t isolated like they are when they have their individual trailers. This allowed them to stay close to the scenes even when they were not in the scene. The idea came from Sony/Screen Gems. They’d done it before and we thought it was a good idea. It kept people close, kept them engaged as to what was going on.
Flix66.com: I’m wondering about your future projects. Do you think you’ll do more comedies or lean more towards a dramatic project on the horizon?
Neil LaBute: I really enjoyed working with Sam Jackson doing a thriller, LAKEVIEW TERRACE, a thriller with suspense that also had something to say about race. That Kind of project appeals to me and I’m looking into another project with Sam in the future. I constantly go back to the stage, and I’m working on a new play in New York in the fall and one in London in winter, and I’ll see where my film projects fall from there.
Flix66.com: Again, Neil, thanks so much for talking to us here at Flix66, but one last question before I go, I wanted to know what movie, of all time, other than DEATH AT A FUNERAL (of course) would you consider your favorite?
Neil LaBute: Favorite movie anybody’s made or mine? I’d have to say all time it’s probably something like LA DOLCE VITA, a movie that I’m just happier watching than anything else, if it comes on I’ll stop and watch it. Other movies I’ve seen more are like Woody Allen’s MANHATTAN, I love THE WIZARD of OZ, too, actually, but I’d have to say LA DOLCE VITA for all time.
Flix66.com: Thank you, Mr. Labute, and again best of luck with your future endeavors.
Warner Home Video has announced that the female buddy film, SEX AND THE CITY 2 starring Sarah Jessica Parker, Kim Cattrall, Kristin Davis and Cynthia Nixon, will be released on Blu-ray October 26, 2010. Even though the film opened to scathing reviews, the sequel to SEX AND THE CITY: THE MOVIE still grossed over $90 million. The film again follows the four previous single women who are still trying to find their way in New York City as they start families of their own, except for Samantha, she’s still a wee bit slutty. The Blu-ray/DVD/Digital Copy combo pack has a list of special features that include:
Styling Sex and the City 2
Revisiting the 80s
“So Much Can Happen in Two Years” – A conversation with Michael Patrick King and Sarah Jessica Parker
Audio commentary with Michael Patrick King
The Men of Sex and the City
SATC2 Soundtrack: Behind the Scenes with Alicia Keys
I had reservations about sitting down to watch Chris Rock, Martin Lawrence and Tracy Morgan put their collective talents together for the big screen remake DEATH AT A FUNERAL. All three comedians have similar styles and humor and all of them command the screen when their doing their schtick. Not only that, but their comedy is usually offset by a “serious” actor like Will Smith or Bruce Willis in order to highlight their comedic styles more efficiently. Knowing that there really were no serious characters in this, I was pessimistic that they could be reined in. So consider me shocked when I found myself enjoying the film and the performances of everyone involved.
The premise is simple enough; Chris Rock is Aaron, one of two brothers that has just lost his father and is in the process of hosting a funeral for him. But nothing is going well and he can’t get help from his more famous brother (Lawrence) or any of the close family friends that are in attendance. To make matters worse, a man (Peter Dinklage) has shown up claiming to be his father’s lover and is trying to extort money from the family. So right off the bat, there’s a lot going on, not to mention subplots with Aaron and his wife and his struggling career.
In fact, everyone has a subplot or two that gets developed as the film goes on. Normally, having so many subplots and so much going on in a short film like this would frustrate me, but in this case, it served it very well. By having so much going on, it reduced the need to have laughs thrown at you every two seconds. Although the laughs are there, this film actually tries to develop some characters and keep the audience interested in the story. Like I said; the three main comedians hold it back a lot and their efforts made for a better film.
The actor that has seemed to get the most credit is James Marsden, who plays a character that accidentally takes a hallucinogenic. That simple character alone provides ample sources for comedy and the irony in the film is that the one actor normally associated with serious, straight-laced characters is the one that gets to cut loose and do whatever he wants to bring a laugh. Marsden does well in the role, but I can’t help but wonder if it would have been funnier if given to a comedian accustomed to going over the top and getting the big laugh.
This was a bit of a pet project for Chris Rock and the one complaint I always have with Rock’s films is his acting. He doesn’t do much better here, but he’s slowly getting better. He just really needs to accept he’s not a good actor and it’s up to his director to help him. Basically, any time Chris isn’t talking, the camera should be somewhere else. He just doesn’t do very well when he’s not talking. Tracy Morgan is another actor that takes flack for just rehashing his ’30 Rock’ character, but it works and here again, he made me laugh.
Overall, I think this film will surprise a lot of people. It was funny, interesting and the cast worked extremely well together. Just about everyone involved was responsible for one or two laughs and the film worked. It had some slow moments and failed to live up to its potential at times, but overall I enjoyed myself.
BLU-RAY REVIEW
Video: Shot completely digital, this transfer is beautiful. In a movie void of a lot of color (it took place at a funeral, remember), the colors and black levels were stunning.
Audio: The sound was also wonderful, although given this is a dialogue heavy film, surround channels weren’t heavily utilized.
Commentary with Neil LaBute and Chris Rock:Some comedians are just naturally funny and can’t help but make you laugh every time they talk and some comedians are funny only when they really try to be. I think Chris Rock falls into the latter category. On this track, he and Neil provide a few laughs here and there, but this is a pretty normal commentary with them talking more about the way the film was made and less about the people involved.
Last Rites, Dark Secrets (20:11): This is your typical behind the scenes feature with everyone showing up to talk about how great the film is and how much fun it was to get the great cast together.
Deleted Scenes (7:11): These weren’t bad by any means and could have been inserted back into the film without a hitch. So it seems they were removed for pacing reasons. But fans of the film will want to give them a look.
Gag Reel (2:36): So with this great cast, this is the best gag reel they could put together? Yes, it’s worth the time and is mildly humorous, but I’m guessing there were funnier gags during the making of the film.
Family Album (10:58): Simply put; the cast members talk about their characters. Not sure what the purpose was of having this a separate feature.
Death For Real (5:54): Again, a worthless featurette where the cast talks about death. Why put this on a disc that had largely managed to avoid the serious issue?
Let me start off by saying, I get no pleasure picking at movies targeted towards children. In fact, it’s one of those things where if I see my 6-year old likes it, I tend to like it as well. But as a parent, you might want to know if that movie your kid is watching won’t drive you insane. So on that note, let’s begin.
I remember reading JAMES AND THE GIANT PEACH around the second grade. Roald Dahl was such an exceptional and creative mind when it came to writing interesting stories for children. While at times they were a bit more terrifying, they also took you on an adventure that had some sense of hope waiting for you on the other side. Director Henry Selick hit it out of the park when he helmed NIGHTMARE BEFORE CHRISTMAS. It was a film that not only kids could enjoy, but their parents could as well. Not to mention it will also be a film that stands the test of time. After the success of that film, Selick decided to move onward with JAMES with producer Tim Burton in hopes to spark more of that same magic.
While JAMES AND THE GIANT PEACH is certainly a heart-warming, magical journey, it doesn’t seem to entertain on the same level as CHRISTMAS. In all honesty, at times it might border on slightly annoying. I guess this all really depends on how many musical numbers you can take. The characters in this film are awfully cheery, and even when they aren’t cheery; they still want to express their emotion in song. Plus, it’s hard to beat Danny Elfman’s voice. Here’s a simple equation when it comes to comparing actors who can carry a tune: Elfman > Richard Dreyfuss.
After viewing this film, I also have to wonder if Henry Selick has an awful family, as he is drawn to direct movies that have poor family structure. In NIGHTMARE, Sally’s only parent figure was a cruel old man. In CORALINE, the title characters parents neglected her, and then she in turn stumbled across a world with even worse parents with button eyes. Then there’s JAMES, who sadly looses his parents when a Rhino eats them. I know rhinos are known to charge, but I’m pretty sure I never caught anything on the Discovery Channel about rhinos dining on human flesh. But this is Dahl’s “fairytale” not mine.
When James’ parents pass away, he goes to his two scary looking Aunts (Joanna Lumley & Miriam Margolyes) who look more like Christopher Walken as the headless horseman in SLEEPY HOLLOW. They basically treat James as a Cinderella type–making him do chores, etc. All James does is dream about going to New York. His parents were planning to go there to visit the top of the Empire State Building before they passed away. The harassment from the Aunts continues and only gets worse when a giant peach grows from a tree in their yard. Soon after they find the peach, an old man (Pete Postlethwaite) visits James and gives him these hot green glowing worms. Obviously, these are no ordinary worms. Next thing you know, James is running after one of the little worms and into a hole in the giant peach. This hole animates him and leaves him in the care of a group of insects: Centipede (Richard Dreyfuss), Miss Spider (Susan Sarandon), Earthworm (David Thewlis), and Ladybug (Jane Leeves). Sadly, this is where it gets annoying. The songs start to break out more consistently now and the insects aren’t the coolest bunch. The only one that I found tolerable was Sarandon and this is simply because I love hearing her voice. Is that awkward? Nah. The rest of the film consists of the crew taking the trip to New York and grow as friends along the way.
One thing I really love about Selick’s film is the use of stop motion animation. This is one of my favorite techniques used in film, especially when it comes to a children’s story. FANTASTIC MR. FOX is a perfect example, although that is not Selick’s work. It does show you what that world is truly capable of, beyond the days of NIGHTMARE BEFORE CHRISTMAS. The animation is fantastic, but I feel like the story wasn’t fleshed out as it could have been. I was stuck feeling like the film relied too much on the musical numbers and not enough on the dialogue. For those of you who are huge fans of the book, I highly recommend this. To me, it wonderfully transfers the pages to the big screen. For the rest of you, unless you are a Dahl or Selick fan, you might want to leave this one to the youngest age bracket.
BLU-RAY REVIEW
Video: I expected animated scenes to shine through on this Blu-ray and they did, to an extent. But the real life scenes were disappointing, making for an overall dull transfer.
Audio: Nice and loud. I often had to turn it down during the musical numbers, not because I was mildly disinterested, but it was the fact that it was just so loud. There are also a few times when I had to turn the volume up to hear the dialogue. (5.1 DTS-HD).
Production Featurette (4:34) Something good for fans of Selick and the film. Interesting and short, but sadly no new footage here.
“Good News” Music Video (2:26): Just an old video with Randy Newman singing over clips of the film. Not my idea of “Good News”.
I’m a sucker for the BBC documentaries. PLANET EARTH was one of my first 50 or so Blu-ray purchases and to this day, I love watching it. The imagery, the clarity and the breathtaking shots they managed to capture on film is just a joy to behold. That said, as much as I love it, I can’t watch multiple segments in one sitting. I find the series is too relaxing and like some critics of PLANET EARTH, it might be a little boring. Well, maybe the BBC listened to the critics and this time they decided to film LIFE and focus on over 100 different creatures on earth, each segment focusing on a specific creature and some of their peculiarities or life struggles. The imagery is just as beautiful, but this time we get invested into the “story”, which makes everything a little more enjoyable.
If you like animals or if you like beautiful scenery, then I think you’ll find something worthwhile in this release. I’m not a big bug guy, so the insect segment didn’t do much for me, but I loved the segment on sea life and mammals. But every segment has something positive and there’s no way you can view this without learning something about the animals you’re watching. Although PLANET EARTH was informative, I found LIFE to be even more interesting and I actually felt like I learned something after each segment.
But all is not well in LIFE-land. My view on this is that we’ve come too far in life (no pun intended) to have a set this popular and this expensive be released in 1080i. If this was all there was and all that was available, maybe I could understand. Or, if the price was dirt cheap (like the Over America series), then I would definitely understand. But the most frustrating thing about this release is that there are basically two identical releases for LIFE; one contains a 1080i transfer and is narrated by Oprah Winfrey and the other contains a 1080p transfer and is narrated by David Attenborough (technically, there’s also a more detailed featurette on this version). Now, truth be told that the differences are unnoticeable on about 75% of the set, but it’s still a serious disappointment for video enthusiasts. A set like this should be reference-quality and the fact is that people who bought/have this version are getting slightly cheated.
The other main difference is that this Discovery Channel edition features narration by Oprah Winfrey. I’m not Oprah’s biggest fan, so I was expecting to find her narration annoying, but I actually did not. She sounded a little more unnatural and “childish” (I don’t mean that as insulting as it sounds) with her delivery, but her voice was easy to listen to and she kept the high pitches to a minimum. I’m one of those that prefer Attenborough’s British, more “proper” narration, but I was fine with Oprah’s.
I think the BBC version of LIFE belongs on every Blu-ray collector’s shelf and if the 1080i transfer doesn’t bother you and you prefer Oprah Winfrey to David Attenborough, then this isn’t a bad purchase. Either way you go, you’re going to love what you’re watching. I continue to be amazed at what the BBC can do with these sets and look forward to future releases.
BLU-RAY REVIEW
Video: I think I covered this in the review, but the 1080i transfer is a little frustrating.
Audio: The audio was incredible and at times it felt like you were with the animals. I wasn’t a huge fan of the score, but it wasn’t overly distracting.
On Location Documentaries (68:57): These are actually 10 separate documentaries, all discussing the various aspects of filming some of the difficult scenes. These are pretty interesting, if only to revel in some of the ingenious ideas the filmmakers came up with to capture various moments.
The Making of Life (41:42): This is similar to the above featurettes, but it takes more time to introduce the crew that actually did the work. While the featurettes discussed specific scenes, this one spoke at an aggregate level and looked at the overall process.
Deleted Scenes (18:24): I was surprised these even included narration and I can only assume they were axed to meet a specific runtime requirement. Otherwise, they could have been included right along with any of the segments that made the cut.
Twentieth Century Fox Home Entertainment has announced that the comic-strip (which ran in 600 newspapers in over 20 countries) inspired film, MARMADUKE with the voice talents of Owen Wilson, Emma Stone and George Lopez, will be released on Blu-ray August 31, 2010. The film follows the adventures of a suburban family that move to a new neighborhood with their Great Dane. Teenage Marmaduke tries to fit into the neighborhood with a pack of four-legged friends while adventures and comedy ensues. The BD/DVD combo pack has a list of special features that include:
Marmaduke Mayhem! Gag Reel (BD-exclusive)
Deleted Scenes
Canine Casting
Cowabarka! Surfing Dogs
Puppy Marmaduke and Kitty Carlos: Home Movies (BD-exclusive)
I’m convinced that there’s a great story somewhere in this latest mess from director Roman Polanski. I loved so many of the ideas and Polanski did such a great job of establishing an eerie tone to the film that perhaps he could have made a great movie had he had some help with the script and made a few better decisions. As it is, THE GHOST WRITER feels like a movie that was made to make a political statement and didn’t have time for much else.
Ewan McGregor is a ghost writer, tabbed to pen the autobiography of the former British prime minister Adam Lang (Pierce Brosnan). We start out with the murder of McGregor’s predecessor, setting the tone that something is not quite right with the assignment. When we meet Lang, we learn that he’s being charged with war crimes for approving the kidnapping of suspected terrorists and handing them over to the CIA. But the actual mystery that the ghost writer is investigating is how exactly Lang is involved with the CIA and if he really is who he says he is. So there are a few mysteries going on in the story and none of them really work together.
One of the issues with the film is the impending doom facing the ghost writer. We know that his predecessor died (presumably murdered), but I never felt that he was actually in any danger. A more effective way to heighten the intensity would have been to do away with the predecessor all together and instead of having a murder of a character we never saw or cared about, have one of Lang’s employees (or maybe the writer’s agent) get murdered while the writer is at Lang’s house. That would impact the audience more and create a more dramatic situation for the ghost writer.
Polanski also focused way too heavily on Lang’s impending war crimes trial. The audience never cared whether Lang was guilty of war crimes and this felt like an attempt on Polanski’s part to push his political agenda, which he did at the sacrifice of his film. The real mystery that the audience was interested in was whether or not Lang was actually a CIA agent. I wanted that to be explored more and all of the drama in the film should have centered on the ghost writer investigating and unraveling that mystery. That could have sparked a cat and mouse situation with each party trying to outsmart the other.
At this point, I’ve basically re-written the entire script, but that leads me to my point that there’s a great, basic idea in THE GHOST WRITER, Polanski just lost sight of it. Spike Lee is also guilty of sacrificing his story for the benefit of making his political point and it seems Roman Polanski fell victim to the same trap. I’m all for directors making political points with their films, but never at the expense of developing a story that audiences can relate to.
Despite the problems with the script and story development, I did enjoy Polanski’s direction. I loved the use of dark, dreary colors and the film had a great feel to it. I also enjoyed Ewan McGregor and Pierce Brosnan, who did very well in their roles. That made it that much more frustrating that they didn’t get a chance to really shine when pitted against each other. The only negative as far as performances comes from Kim Cattrall, who delivers one of the worst British accents in the history of film. Seriously, Polanski, were there no British actresses available?
BLU-RAY REVIEW
Video: I loved this transfer. This is the first double sided disc I’ve seen from Summit, but it definitely didn’t result in a loss of video quality. The darker tones to the film were beautiful
Audio: The sound was efficient although given the nature of the film, surround channels weren’t used very often.
The Ghost Writer: Fiction or Reality (10:46): It’s kind of funny when screenwriter Robert Harris talks about aspects of the story he struggled with, most of which I didn’t like. He does most of the talking and speaks openly about the similarities with Tony Blair.
The Cast of The Ghost Writer (11:49): I needed an explanation for why Kim Cattrall was there, but I didn’t get it. The rest of this is dedicated to how great Roman Polanski is and how much everyone enjoyed working with him and each other.
An Interview with Roman Polanski (8:39): More love given to Roman Polanski, this time Polanski answers questions from an interviewer we can’t hear. He keeps it pretty light, but it was nice to see a lot of the behind the scenes clips.
Sly is Frank Leone, a relatively straight shooter who ended up in the wrong place at the wrong time. With only six months to go on his prison tab, Frank’s suddenly hauled out of his country club prison and shipped up to the meanest cell block around complements of a warden from his past who’s hell bent on breaking him and seeing that he spends the rest of his life behind bars.
Prison, that’s the one place I hope to God I never see in this lifetime. I do enjoy a good prison based flick but after seeing just about every one of them out there I’ve come to realize that it’s no place for me. Frank Leone feels the same way but unfortunately he’s passed the point of no return. I liked this flick when I first saw it and re-watching it now is like singing and eighties farewell tour which is good and bad. The good part being that I love eighties flicks, the bad part being that we don’t get that kind of movie anymore.
There’s a lot of my favourite eighties nuances here from the gritty finish, the ballsy language and the no holds barred violence, all of which are good to see but truth be told this is one of my least favourite Sly flicks from back in the day. I will say that this movie bridged a nice gap for his performance in TANGO AND CASH (now THAT was a prison scenario that kicked some ass!). I enjoyed Frank’s character here but the movie I wanted to see was the back story between him and warden where Frank busted out of his prison and made him look like a fool. Sadly this isn’t the case which doesn’t make this film bad by any stretch, just a little mildly paced.
It was nice to see Donald Sutherland in action (I miss that guy and always picture him in BACKDRAFT which makes me smile) and of course there were some other familiar faces but the one that sticks out the most is Larry Romano (First Base) who I wouldn’t have known then but recognize now from one of my favourite comedy sitcoms THE KING OF QUEENS. One of the best parts about revisiting oldies for me is catching small cast things like this, and you’d be amazed how many of them there are to catch. The acting, dialogue and overall performances were pretty tight and not all cheesy like some eighties fodder, which is also nice considering many of these films are known for that.
LOCK UP is nowhere near Sly’s best film, if anything it felt like a dramatic roll of the dice from a man who was used to just doing shoot ‘em up action pieces. Is that a bad thing, not really, it’s just not the adrenaline rush you might be used to when it comes down to Sly’s older stuff. Flicks like this one are what made me love PRISON BREAK and or prison films in general. Nobody wants to be in general population but I think we’re all very curious about what goes on in there…aside from the soap dropping end of things. The upgrade to Blu-ray is solid but this one’s for Sly fanatics in my opinion. One thing’s for sure, this has made me want to go out and hunt down OVER THE TOP on Blu-ray and re-watch TANGO AND CASH on Blu-ray which I happened to pick up last week (new) for nine ninety-nine.
BLU-RAY REVIEW
Video: 2.35:1 Widescreen in 1080p HD with AVC codec. Prison never looks fun, but the transfer to Blu-ray is slick here and the prison football game did look fun…well sort of.
Audio: 5.1 DTS-HD in English, French and Spanish with the same subtitle options. As I mentioned before, the writing and dialogue were exceptionally well done for an eighties movie.
The Making of Lock Up (6:50): This old school look at how the film was put together has Sly backing his character and a lot of talk about the ups and downs of shooting on location at a real prison which hadn’t been done much at the time.
Sylvester Stallone Profile (3:13): I was hoping for a movie profile here but this is more Sly giving us a profile of his character Frank Leone than of himself as an actor.
Behind the Scenes (8:12): Here we get more insight into how a movie gets filmed when you’re in a real prison. It was more than enough to put everyone involved a little on edge.
Interviews (7:01): There are five brief interviews with cast members who share their thoughts about the film, Sly’s is a five minute repeat of stuff he’s already said leaving the other ones clocking in at between twenty and thirty seconds, which as you can imagine isn’t enough time to say much.
“It came for the thrill of the hunt. It picked the wrong man to hunt.” Arnold Schwarzenegger is a force to be reckoned with in PREDATOR. It had been awhile since I had sat down to experience this action packed movie. More often I end up seeing PREDATOR 2 since it comes on television all the time. After seeing the newest installment, PREDATORS from Robert Rodriguez and Nimrod Antal, I realized what I loved the most about the original—the simplicity.
In 1987, this was a masterpiece of action-thriller filmmaking. You’ve got Arnie, Jesse Ventura, and Carl Weathers ready to bust some heads open. A Special Forces team is sent to a remote location in Latin America (down in the jungle deep) to “extract hostages”. Actually, it’s a little more than that. Before the Special Forces team had to come in, a group of Green Berets are sent in to take care of things. They didn’t exactly get too far into their plan. Arnold and his men stumble upon some of the Green Berets hanging upside down from trees missing their birthday suits—quite gruesome. Could the guerillas from the nearby village have done such a vile thing? Nope. They are the least of their problems. Something else entirely is looking to hunt each and every one of them. Don’t run…there’s nowhere to hide.
The rest of the film is a struggle for survival. There are plenty of tension filled moments, and there were a few times when I actually jumped. The film after all these years still manages to keep you on the edge of your seat wondering who is going to get picked off next. If you’ve never seen this film, be prepared for constant action from one minute to the next.
Like I said at the beginning, what’s great about PREDATOR is the simplicity. The story is easy to follow and the characters are one-dimensional manly men—except for that hardcore chick they were keeping as a hostage. The manly cast works so well together: Arnold, Jesse, Carl, Bill Duke, Sonny Landham, and Richard Chaves. They spend most of their time trying to one up another or laughing at each other’s girly men qualities. Sadly, they don’t all stick around for too long. A few of them put up a decent fight for their own lives, and some of them just like to stare death in its cold hard face.
John McTiernan did a great job with making this a film that still stands the test of time, especially with all of the action films that have come out over the years. You don’t even end up laughing at the cheesy effects used back in ’87. In fact, you sort of admire the film. When you were a kid, this was some serious stuff. I think if you sit down and give PREDATOR another viewing you might realize how much you really like it. I promise you an epic battle scene between Arnold and the predator. Unleash your inner child and let he/she indulge in a little violence. The film is worth it.
BLU-RAY REVIEW
Video: For the most part, the video looked decent. At times the some colors were more vibrant than others, but it was never horribly distracting. I think the only real problem I had was the fact there were quite a few scenes that looked like they were transferred straight off the VHS version. It seemed sort of lazy. (1.85:1 Widescreen).
Audio: The audio is clear and at times seemingly perfect. If you like your action loud like a stealth karate tiger carrying machine guns, then this should make you pretty happy. (5.1 DTS-HD).
Commentary from director John McTiernan- I recommend this for hardcore fans of the series only. This just wasn’t one of the more memorable ones.
Text commentary from Film Historian Eric Lichtenfeld- This was actually more of a treat than the director commentary. It’s basically like the pop-up trivia you’d see included on some disks.
Predator: Evolution of a Species- Hunters of Extreme Perfection (11:13) This goes into the process of the script and development of the movie. There is an interview with John Davis, a producer on the film. Robert Rodriguez and Nimrod Antal were also part of the interview process and there was some behind-the-scenes footages from PREDATORS included as well.
If It Bleeds We Can Kill It: The Making of Predator (28:47): I got really excited to watch this then I was informed by a massive Predator fan that a lot of this was included on a past DVD release. It’s still a cool feature with interviews of the cast, except Arnold. That was sort of a disappointment that he was not included.
Inside the Predator Featurettes (30:00): There are seven short featurettes here that cover a lot of production ground. It’s also a lot of older material that is really cool to see now. Check out how the alien is designed, stunts, and pulling Arnold into the film.
Special Effects Featurettes (5:00): Two really short featurettes that go into the red suit effects and camouflage tests.
Short Takes With the Filmmakers (10:30): Short interviews with director John McTiernan, Jesse Ventura talking about how he got into politics, and an entertaining look at Stan Winston effects master.
Deleted Scenes and Outtakes (6:00): A few cool scenes that were left out of the original. Very short.
Photo Gallery and Predator Profile (2:36): This includes a gallery of still photographs and a profile on the Predator himself. Another awesome feature for huge fans.
Sneak Peek at the new Predators (1:44): I saw PREDATORS previous to reviewing this blu-ray, so it wasn’t much of a peek for me. It did give me an idea of what the film will look like when it does release on blu-ray and there are no complaints here.
“What most people call hell, he calls home.” This is one of many clever, overly ridiculous taglines and quotes that come from the killing good time that is the RAMBO series. In RAMBO: FIRST BLOOD PART II, Rambo asks Colonel Trautman, “Sir, do we get to win this time?” Rambo, you always win.
The Rambo films are definitely a love them or loathe them style of movies. What makes Rambo so comforting and easy to root for as a hero is it is very black and white. The bad guys are really bad and the good guys, who is basically just him, are really good. He has a heart of gold but has no problem killing every person he comes across that stands for evil. And believe me each enemy get progressively worse and the bloody mayhem that Rambo wreaks upon them gets more gruesome.
I have to hand it to Sylvester Stallone; he understands what is entertaining to the mass audiences. Stallone had a hand in writing every script and finally got behind the camera to direct the fourth installment. Although from the special features, it sounds like he practically directed the others with most of the creative control. Stallone deserves a lot of credit seeing that sometime his acting was not where it should be and needed to cut out many of his speaking scenes. As it stands, the RAMBO films are short on dialogue and heavy on action.
A key component to keeping a film moving without dialogue is an adrenaline filled soundtrack. Composer Jerry Goldsmith created an iconic score for Rambo. Without the driving force of the music, I firmly believe these films would not have worked. Another key to the success is the short length of the films. Every RAMBO movie comes in at about an hour and a half, except for the third one, which is closer to two hours. RAMBO III is the weakest of the series and I believe if you trimmed it up a bit it would do wonders. I usually hate movies that are short because I don’t feel like the filmmakers cared enough to give me my money’s worth. However, this is the exception to that rule. RAMBO gets in and gets out with so much energy and destructive fun that the audience doesn’t have enough time to poke holes at all the improbable and silly scenarios.
The films individually show a lot of weakness, but when you put all the films together for the Blu-ray set, you realize it’s all about the brand that Rambo brings as a character and as a movie. If they didn’t have those outlandish moments the films would suffer. This is what audiences love about Rambo. He can go into any situation and single handedly win wars without consequence. He always wins, even against corruption from the side he is fighting for. He is not afraid to die and will die for anyone and anything that we all believe to be right. What’s better than one Rambo? Four Rambo’s.
To be perfectly honest, before viewing OUR FAMILY WEDDING, I had seriously low expectations for this film. To say that this movie surpassed my expectations would be overselling it, but I did walk away feeling pleasantly surprised that it was not the terrible fest I was anticipating.
In OUR FAMILY WEDDING, Lucia Ramirez (America Ferrera) and Marcus Boyd (Lance Gross) are in love and traveling to tell their families of their engagement and plans to be married in three weeks time prior to moving to Laos. The kicker? The dads, Brad Boyd (Academy Award winner, Forest Whitaker) and Miguel Ramirez (mediocre comedian, Carlos Mencia) met on the very day of the engagement announcement dinner when Miguel towed Brad’s luxury car – making it impossible for the two men to get along. How-oh-how will these two competitive men get through their differences without spoiling their child’s wedding? Predictable ‘hilarity’ ensues including a FATHER OF THE BRIDE bathroom moment, some random male bonding and an unnecessary goat scene.
Other than the feuding dads, there was a lot more heart to this film than what I was expecting, including some side stories that weren’t necessary but were enjoyable to watch. Those moments are what saved this movie from being a total mess. Forest Whitaker plays the smooth talking radio DJ with a complicated relationship with Regina King’s character, Angela (this is one of the unnecessary side stories mixed within this rom-com). His performance was a disappointment having last seen him in THE LAST KING OF SCOTLAND; I thought he could have done something more with the character but maybe the material was just so stale that there wasn’t much to work with? Regardless, I expected more from him. Carlos Mencia on the other hand, I expected nothing from so was semi-pleased with his so-so performance. His heart to heart moments were painful but nothing like the forced relationship between the main love-birds. The only time I saw a spark of romantic chemistry between Ferrera and Gross was at the very beginning of this film, and when she serenades him outside his house. Other than that, I didn’t have much of a reason to root for them as a couple and empathize with the plight of ‘their wedding, our marriage’.
Without a doubt, my favorite character throughout the movie was Lucia’s tomboyish sister, Isabella, played by Anjelah Johnson. I wanted more scenes with her in it, as she was the breath of fresh air this bland comedy needed. The banter and side comments she made about everyone and everything made me laugh out loud.
Although I have plenty to identify with in Rick Famuyiwa’s OUR FAMILY WEDDING, coming from a mixed cultural background (Paraguayan-American) and currently in the throes of planning a wedding, this movie didn’t really do much for me other than want to rewatch FATHER OF THE BRIDE and THE LAST KING OF SCOTLAND.
BLU-RAY REVIEW
Video: (2.35:1 Widescreen) If only the vibrant colors and sharp picture would make this movie better.
Audio: (5.1 DTS-HD Master Audio) Nice clear sound, great for the Mariachi band at the end.
Gag Reel (2:40): Made me want to gag.
Deleted Scenes (16:52): Out of the six I thought there would be one that could have made a positive impression on me. However, as that was not the case, I’m thankful that they opted to delete these scenes from the movie. Wish they would have deleted them as an extra feature. Remain deleted.
Extended Scenes ( 4:02): One extended scene featuring Carlos Mencia, the other featuring Forest Whitaker . Mencia’s extended scene made me laugh, but only because of his wife, Sonia, leaves him in jail to go shop.
‘Til Dads Do Us Part (15:02): Carlos Mencia, Forest Whitaker, Lance Gross, America Ferrera and director, Rick Famuyiwa talk about how fun it was to work on this film. They also discuss the various traditions from two cultures and how awesome an actor the goat is.
I have two golden retrievers and a border collie of my own and as cute as they were as puppies, even I have to admit that there is nothing cuter than a Beagle puppy. The CATS AND DOGS filmmakers knew this as well, which is why they chose a Beagle puppy as the star of the film. Just like in real life, a puppy’s uber-cuteness makes it hard to be mad or frustrated with him/her for very long and the cuteness spewing from this film makes it hard to be aggravated with the lackluster filmmaking.
While watching it, the biggest question that popped into my mind was; why hasn’t this been done before? The idea of crafting an entire film that pits dogs and cats against each other is so obvious, I’m surprised Hollywood hasn’t already milked it to death. In this film, they’ve created a world where dogs are kind of the “G.I. Joes” and cats are the “Cobras”. When you boil it down, that’s essentially what this is, just with more fur.
The plot is straight out of your typical spy/action movie where a young Beagle pup (voiced wonderfully by Tobey Maguire) is thrust into the secret agent world when he gets mistakenly chosen by a family. Reluctantly, the seasoned vet (voiced by Alec Baldwin) trains the young rookie to protect a formula the pup’s master is working on that would cure all dog allergies. Unfortunately for all of them, Mr. Tinkles is out for that formula, but for his own evil plans. This is not a complicated premise, it’s really just an excuse to get cute dogs and cute cats together for 90 minutes.
I really appreciated the inclusion of so many subtle inside dog and cat jokes. I loved the play on the different stereotypes for each animal and got a kick out of seeing how they used the animal’s habits in the spy world. I only wish they had done more of it and focused more on the intelligent subtleties and leave the childish slapstick out. There’s a surprisingly fun film here, but sometimes it gets lost in the unnecessary silliness. But like I mentioned earlier, some of the film’s shortcomings can be forgiven because the animals are so darn cute. That’s a positive for those of us that love animals, but I’m not sure non-animal lovers will be so kind.
Even though some of this will make a lot of adults roll their eyes, there are enough puns and funny bits that will keep the interest peaked. Sean Hayes does a fantastic job voicing Mr. Tinkles, who alone is worth the price of admission. If you have little ones and you want something to keep their (and your) attention for 90 minutes, CATS & DOGS is a safe bet.
BLU-RAY REVIEW
When CATS AND DOGS first came out on DVD, there was no widescreen edition. For some reason, Warner Brothers didn’t release the widescreen version for many months later. So a lot of you might never have seen the widescreen version of the film.
Video: The eventual widescreen DVD wasn’t bad, but this is a notable upgrade for the film.
Audio: The audio was also a significant upgrade
Commentary with Lawrence Guterman, James Bissell, Chris DeFaria and Sean Hayes: I imagine that working with animals is a very difficult and challenging feat and I was happy to hear the director and producers talk about the difficulties revolved around filming an entire film with animals. Sean Hayes was a little out of place, but he offered up some humorous tidbits that helped keep the track rolling.
HBO First Look (15:03): This is just an extended commercial for the film. Some First Look’s have a lot of behind the scenes footage, but this one had more movie clips than anything.
Teaching a New Dog New Tricks (5:58): This is a great featurette, although a bit short. But they talk to the dog trainer about how they got the dogs to do various stunts and behave naturally. They also go into the different CGI effects that were used. Well worth the 5 minute investment.
Dog’s Rule (:52): A quick montage of various scenes from the film featuring dogs.
Mr. Tinkles Screen Test (1:37): This is a silly montage of Mr. Tinkles acting out various scenes from famous movies.
Mr. Tinkles Speech (1:10): Mr. Tinkles gives a speech about the state of the film industry. Pretty funny, but not sure who this was for.
John Rambo has been living a simple life in the quiet reaches of Thailand away from the world and away from war. That is until a group of missionaries with a clear death wish drop in on him in hopes that he’ll take them into Burma. Knowing Burma’s nothing but a warzone Rambo reluctantly agrees but when the missionaries go missing Rambo must join forces with a group of mercenaries in hopes rescuing them from certain death.
I didn’t care for RAMBO the first time I watched it and I hoped that this second run through the jungle would fare better. Thankfully it did, though this film is not without its faults. The first Rambo flick was pretty good for its time but RAMBO 2 is what blew my mind and had be wearing headbands and bugging mom to buy me a huge knife. The third one was “meh” but I can’t say that I was unhappy with Sly’s decision to expand both Rambo’s and Rocky’s worlds with new age sequels (for the record I loathed ROCKY 5). On both counts Sly brought back his two most iconic characters with class and style and in Rambo’s case, this setting is exactly what I would have expected from the character.
The opening scene is one of my favourites as who else but Rambo would be crazy enough to be out catching cobras and water snakes (two of THE most deadly snakes in the world), not that the Asian dudes with him were any better, taking the snakes out of the bag so that they could poke and prod at them, pissing them off royally. The boat scene with the mercenaries was another good one, when the leader was giving Rambo some lip. The look on Rambo’s face was a lot like the look Arnie gave Bill Paxton in TRUE LIES just before he broke his neck. Rambo could have smoked all those fools before they even knew what hit them, he didn’t but the fact that he could have if he wanted to was enough to make me smile.
The psychological approach this movie took to the character was also worthy of note even if they only did show his restless dreams from the past only once and briefly at that. Rambo’s a tortured soul and a few more years certainly didn’t change that. I found this film aged him gracefully though and even made him more humble. The war end of things is where I was let down. Though in all honesty Burma is one of the few places left in the world that we could have sent Rambo in shooting (I’m very curious to see where he goes next). The gore was a tad over the top. War is brutal, I get that, but having soldiers bet on which prisoner will blow up on a landmine as they’re herded across a body of water is a touch much. Add to that an excessive amount of body parts whizzing through the air and gallons of red stuff and you can visualize the kinda party I’m talking about.
JOHN RAMBO is a solid action flick that digs down deep into the roots of its protagonist hauntingly well and paints a dark picture of war and cruelty. This is not a film for the squeamish that’s for sure, even I winced a couple times and I was brought up on this stuff (RAMBO was the first R rated action flick I ever saw, that, COMMANDO and then COBRA). Sly did a great job keeping the game going and though it’s not the best in the series it’s good for a watch here and there. I’m not sure about the whole “extended cut” end of things as I didn’t feel I saw anything different (and the runtime was still a slim hour and thirty nine minutes which is pretty short) but I can’t say it was a bad ride. Onward to THE EXPENDABLES baby!
BLU-RAY REVIEW
Video: 2.40:1 Widescreen in 1080p HD with AVC codec. Let the bodies hit the floor baby, cause in HD you can almost feel the warm blood a flowing.
Audio: 5.1 DTS-HD in English, French and Spanish with the same subtitle options. Rambo’s a man of few words but I was impressed with the dialogue Sly gave him, though I’m still on the fence when it comes to that “live for nothing, die for something” quote.
Rambo: To Hell & Back-Director’s Production Diary (1:23:33): Wow, this bad boy’s nearly as long as the feature film itself! Sly goes above and beyond here to give us a bird’s eye view of how it all came together and top it all off, he shot this thing in forty two days when it should have taken him ninety. This is great stuff, from carving the village and sets out of the wild jungle to playing with live cobras and who knew that chainsaws were illegal in Thailand?
Previews: There are a slew of LIONSGATE film trailers including (of course) one for THE EXPENDABLES.
Remember when times were simpler and the U.S. was an ally to Afghanistan while fighting the Russians? Oh how times have changed. This is the premise of the third installment simply titled RAMBO III and “Dedicated to the gallant people of Afghanistan” as displayed before the end credits.
We meet John Rambo (Sylvester Stallone) first with a shot of him tying on a bandana over his same semi curly locks flexing his shoulder and back muscles. Then when he is summoned the music crescendos as he looks over his shoulder toward the audience. A nice dramatic intro to a beloved character to get the crowd cheering. After winning a highly intense stick-fighting match to make extra money, we see that Rambo is living in Thailand helping out a Buddhist monastery. After turning down helping his former Vietnam superior, Colonel Samuel Trautman (Richard Crenna), lead the Afghanistan rebels to fight off the Russian invasion, he learns the mission failed and Trautman has been kidnapped. This information prompts Rambo to join the Afghan forces and rescue Trautman from being tortured by Russian Colonel Zaysen (Marc de Jonge).
Rambo is back to his usual stunts, being pretty much indestructible. He fights and blows people up in a variety of ways and has stealth like moves being undetectable and unseen while in plain sight breaking into the enemy’s camp. I’m personally glad he goes to so much trouble to save the guy who seems to continually put him in bad situations just so Colonel Trautman can say, “He’ll find you” when referring to Rambo for the third time in clever new ways, like this exchange:
Colonel Zaysen (Russian): “Who do you think this man is, God?”
Colonel Trautman (American): “God would have mercy. He won’t.”
It’s always a bit funny to me how these battles or wars between nations become so personal between Rambo and the leading commanding officer from the opposing country. In this case, Colonel Zaysen makes sure he personally is the one flying the helicopter doing the strikes and who is out to get Rambo rather than ordering his soldiers to do so. I’m not sure this is the right man to be in charge. As it stands, Rambo and the Russian Colonel’s final confrontation is an epic chicken battle between a helicopter (Zaysen) and a tank (Rambo). I never understood why the helicopters kept fighting at ground level, hovering just a few feet above. May the dumber man lose.
What is it with the horrendous overly sappy music at the end of these Rambo films? “He Ain’t Heavy…He’s My Brother” by Bob Russell & Bobby Scott and performed by Bell Medley is the culprit of the third film. I have to mention it because it sticks with you on just how awful it is. The target audience and fans of the Rambo films need a little more push or energy for their film. Thankfully the original score throughout the picture never changes here or in any of the movies. Despite all it’s familiar flaws, RAMBO III just barely delivers for another good time.
BLU-RAY REVIEW
Video: (Widescreen 2.35:1) Very nice picture with beautiful visuals of the Afghanistan and Thailand countries.
Audio: (DTS-HD Master Audio) The sound was great for the explosive action movie.
Audio Commentary with director Peter MacDonald: A mediocre flat commentary with uninteresting information. The director’s speaking pattern has an uninspiring tone, which makes it a hard listen.
Out of the Blu Trivia: If you choose, you can watch pop-up information and tidbits about the film during your viewing.
Afghanistan Land In Crisis (29:48): Like the previous films, this is the best featurette. The filmmakers including Sylvester Stallone discuss how the entire scenario has been switched how it was released right when we became friend with Russia so the film took a lot of heat. They talk a little about our current War on Terror in Afghanistan and how the Afghans were a big fan of Rambo and the U.S.
John Sedley has a face only a mother could love—until a robbery gone wrong changes everything. In 1989, a film helmed by Walter Hill called JOHNNY HANDSOME was released in theaters. I was only 5 when it came out, but I get the sense that it might have slipped through the cracks. Other films that came out that year like BATMAN, WHEN HARRY MET SALLY, and INDIANA JONES AND THE LAST CRUSADE probably overshadowed it. Actually 1989 was a good year for memorable films. While JOHNNY HANDSOME has become somewhat of a cult classic, I think it may still be left off the radar.
John Sedley (Mickey Rourke) is a crafty criminal left with a rare facial deformity since birth. His deformities lend to the cruel nickname given to him, Johnny Handsome. However, Sedley is quite good at setting up possible jobs, and does these jobs with his mentor/father figure. Convinced he can pull off one last job, Sedley, his mentor, and his two partners—Rafe (Lance Henriksen) and Sunny (Ellen Barkin) knock off a coin collectible store in the French Quarter. In a twist unforeseen by Sedley, Rafe and Sunny double cross them. Sedley is left alone at the crime scene and his mentor is dead.
After being arrested, Dr. Steven Fisher (Forest Whitaker) thinks that Johnny is only a criminal due to his rough upbringing. The doctor there in turn decides to attempt to rehabilitate him and fix his facial deformities. Soon, Johnny is paroled and given a new identity along with his new, truly handsome face. He is given the chance to go back into the world and try to start another life for himself. The real question is, will Johnny lead a normal life or go back for revenge? Lt. A.Z. Drones (Morgan Freeman) knows Johnny all too well, and is convinced that someone like him can never be rehabilitated back into normal society. Once a criminal, always a criminal.
Upon first receiving this film, I realized the reason it was most likely getting a Blu-ray release. A red shiny sticker indicated that a “legend from the upcoming film, THE EXPENDABLES” was in this movie. Perhaps they were hoping that hardcore Rourke fans, or maybe the new ones, would want to check this out due to the massive buzz of THE EXPENDABLES. I’m not sure that plan will work with the power of the sticker alone, but I hope that the film is given another chance with possible audiences.
While I can’t hold it to the title of “cinematic masterpiece”, I can say that it is something of a surprise. A great performance by a younger Rourke, explains why he is receiving a comeback in the recent years. Johnny Handsome could have been a role that anyone could have easily tried to play with the deformities overpowering the actor–this isn’t the case with Rourke. He brings a subtle charm and warmth to Johnny, but at the same time gives enough distance to explain why he feels no malice. In turn, the spotlight stays on him throughout the film even with co-stars like Freeman and Barkin daring to take it away.
Rourke’s co-stars are memorable in some aspects. Barkin nails the trashy, wrong side of the tracks partner to Henriksen’s Rafe. She’s always just the right amount of over the top. Henriksen plays a good sleezeball alcoholic, drug addict. At times I did get him confused with the guitar player for Def Leppard, but that’s only because they’re both so hardcore. When it comes to Morgan, he always calls attention when he’s on-screen. Sadly, some of his lines were a little ridiculous and his performance felt a tad forced. Whitaker only stay through till about half of the film, but manages to convince us with hardly any effort that Johnny will fly straight one day. My least favorite character in the film was Johnny’s mousy accountant lady friend played by Elizabeth McGovern. I think the thing that drove me nuts about her was that terrible Cajun accent.
As I’ve already said at least three times during this review, I really hope that people get a chance to see this film. It’s something that I will wind up watching more than once, basically because of Rourke’s stellar performance. Johnny Handsome gives the action when it’s necessary, but also leaves you with a little heart as well.
BLU-RAY REVIEW
Video: A lot of things are off about the video transfer in this one. The colors are dull and there are noticeable blurry spots. When nighttime hits in the film, there’s no light contrast so you are often bogged down in the dark. (1.85:1 Widescreen).
Audio: I thought the audio was fairly decent quality. There was never really a struggle to hear anything. I only found myself having to adjust the sound a couple of times. (2.0 DTS-HD).
Wordsmith (12:39) A nice featurette with screenwriter Ken Friedman talking about how the project got together and started from a “dusty old novel” by John Godey.
Eye of the Beholder (10:15): Michael Westmore, special effects make-up designer, talks about the unique task of providing a disfigured face for Mickey Rourke. They talk about trying to create a realism, instead of turning it into something out of a horror film.
Action Man (11:12): Stunt coordinator, Allan Graf talks about getting the job on the film, his interactions with director Walter Hill as well as the actors, and the difficulty of performing stunts in the French Quarter of New Orleans.
The second Rambo film adopts the character’s name along with the original title. RAMBO: FIRST BLOOD PART II ups everything in almost a cartoony sort of way. It’s arguably the best of the Rambo’s because it’s so silly it’s good. However, it isn’t meant to be silly which I think is what makes it so enjoyable. This time around Rambo is let loose on bad guys racking up the body count. Unlike the Vietnam War, Rambo gets to decide if we win.
John Rambo (Sylvester Stallone) is in prison when his commanding officer and only friend, Colonel Samuel Troutman (Richard Crenna) offers him his freedom if he accepts a top secret mission to take some pictures of American POW’s being held in Vietnam. The corrupt official, Murdock (Charles Napier), overseeing the mission wants it to fail but Rambo is determined to rescue the POW’s and kill as many Vietnamese and Russians as possible.
Like I said before, Rambo is a full blown killing machine and this film definitely highlights the kill part. He single handedly blows up hundreds of Vietnamese with his exploding tipped arrows and has an obligatory montage of killing men one by one. Sure we never see his transition from one hiding place to the next but it sure is entertaining seeing Rambo blending with the background and surprise attacking his enemies in different ways. Rambo also has a rather graphic run in with some leaches and gets partnered with a very attractive female freedom fighter, who has a terrible broken English and quickly falls for him. The last monologue of Stallone’s is cheesy to say the least, especially since the whole formula is so similar to the original. It’s only heightened by his dramatic walk away, which he appears to be heading absolutely nowhere, followed up by the atrocious song, “Peace in our Life” by Sylvester’s brother Frank Stallone.
The stunts are pretty impressive using helicopters and boats in a variety of ways, however the use of close up shots and smoke to mask improbable actions to get from point A to point B is an insult to the audience’s intelligence. Your feeling toward the fact that each scenario is heightened by absurdity depends completely on your enjoyment of mindless action movies and this one definitely sets a standard.
It should be noted that RAMBO: FIRST BLOOD PART II had seven Razzie nominations but did receive one Oscar nomination and was positively revered by President Ronald Reagan claiming Rambo as a Republican. I think these drastic polar feelings toward the film are a little over dramatic and unwarranted. I could go on and on about how the film isn’t very good in a lot of ways, but it still is a darn good time.
BLU-RAY REVIEW
Video: (Widescreen 2.35:1 Ratio) Very clear. The jungle of Vietnam looks colorful and vibrant.
Audio: (DTS-HD Master Audio) Verbal audio was far too quiet compared to the sound mixing of the background noise, effects and music.
Commentary by director George P. Cosmatos: He is a little tough to listen to giving a mediocre interest level of generic information. He sounds like he took more direction than gave it.
Out of the Blu Trivia: The same pop-up style commentary giving facts and information as you watch the film.
We get to win this time – Documentary (20:04) This is an interesting information talking about the difference for Rambo being more in control of this war compared to the first and allowing him to let loose on the enemy.
For some people you may not recognize the title but I assure you this is the first Rambo movie. The character of John Rambo became so recognizable that people began to call the movie Rambo, thus instigating the follow up titles. People loved this guy and to be honest, I can see why. He is a war hero that keeps fighting for what is right, albeit aggressively and with a mullet but nonetheless with a strong heart.
John Rambo (Sylvester Stallone) is a war vet who has returned to the states. After discovering one of his last surviving war buddies has died from cancer he goes on the move. As he passes through a small town the local sheriff (Brian Dennehy) gives him a ride to the outside of town and warns him to stay out. All Rambo wants is a hot meal and bed so he defiantly returns. The sheriff arrests him. While being beat by one of the many officers in the police holding area, Rambo finally fights back and escapes to the nearby forest. Rambo goes into war mode surviving and defending himself toward anyone that might come into harm him, which is now the entire police department and town volunteers. Rambo’s commanding officer Colonel Samuel Trautman (Richard Crenna) gets involved to mediate the situation but as he cryptically points out, not necessarily to save Rambo from them but save them from Rambo.
At an hour and a half running time, the film moves briskly. Rambo has his montage of using the bare necessities, maiming his hunters in primitive ways. He escapes near death numerous times and graphically cleans his wounds. While the film is violent, the death toll is actually held to a surprisingly low number because he is a good guy. Rambo does go a bit post-traumatic Vietnam crazy but “they drew first blood” and he’s just a product of the Vietnam soldier we created anyway. At least that is the film’s appeared political stance. It’s easy to get behind Rambo as the misunderstood unappreciated soldier but what I don’t get is why his adversaries had so much hatred for him. Was it his long hippie hair? Sure it doesn’t look good and he may be a bit smelly hitchhiking place to place, but is that a necessary reason to want to kill a guy. I understand it all escalates from them just wanting to keep a perceived bum out of their town but that escalation is a bit excessive and drastic.
Major credit is deserved to the musical score “It’s A Long Road” by Jerry Goldsmith, which gives the film adrenaline and inspiration. It’s unfortunate that the end credits include a slower lyrical cringe-inducing version of the song. It gives off a vibe that makes me think the filmmakers thought their product was more serious than it was. Nonetheless, the film is a joy to watch with some nice cinematic moments that remain in the public’s psyche today inspiring sequels and other action films to follow.
BLU-RAY REVIEW
Video: Nice quality. The muted greens and grays never looked so good for the cast-over rainy weather of the film.
Audio: The voice levels compared to the background sound and effects are much quieter which causes a lot of turning up and turning down of the volume. Luckily there isn’t much dialogue.
Commentary by Actor Sylvester Stallone: Stallone is an extremely talkative and down-to-earth type of guy who tells everything in a casual conversational style, which makes his knowledgeable tidbits easy to listen to.
Commentary by Writer David Morrell: His commentary is informative as well but definitely from a more literature stand point and not near as entertaining.
Out of the Blu Trivia: A typical pop-up information feature that you can play during the film.
Drawing First Blood (22:35): The producers, writers, director, actors all discuss the process and difficult efforts in getting the film made with some very interesting information of the near involvement of Kirk Douglas and an alternate ending. Highly recommendable.
Deleted Scenes (5:33): A couple of very odd deleted scenes; one is an alternate ending where Rambo dies, the other is an extremely out of place flashback love scene.
As a young boy Eisenheim is seduced by both the art of magic and a young noble girl whose love was forbidden. Separated from his love he traveled the world mastering his craft only to return years later to the home and love he left behind setting the stage for an unbelievable performance.
THE ILLUSIONIST came out back in 2006 and is an example of the Hollywood’s “idea to the second power” principle where they release two films the same year about the same thing. The concept here is magic and the other film is THE PRESTIGE. Fresh off the BATMAN BEGINS/Christopher Nolan high (not to mention how cool the trailer was) I opted for THE PRESTIGE over THE ILLUSIONIST and as such never really got around to watching it until now. Since I’ve only watched THE PRESTIGE once, I’ll have to re-watch both films a second time to see which is my favourite of the two but rest assured I’m not taking anything away from this film as it was truly amazing.
I’m an avid fan of magic, illusions and all things mysterious or supernatural. I wasn’t around for the Houdini days but I’ve seen David Copperfield twice and still revel at his ability to captivate a crowd. I consider myself a pretty smart guy but even I shook my head in amazement more often than not. Both THE ILLUSIONIST and THE PRESTIGE utilize a fine arsenal of magic tricks though sadly more so in THE PRESTIGE than here. What Eisenheim does on stage is nothing short of spellbinding but the film does shy away from magic as the story progresses and becomes something else. The good news is that it works marvelously for many reasons, one of which being that it’s so well written and superbly acted.
Edward Norton has been (and will always be) one of my favourite actors since PRIMAL FEAR. For some reason he’s able to pull of just about any sort of character, from a skinhead to the Hulk and you believe it from start to finish, at least I do anyway. I had no problem whatsoever believing in Eisenheim especially once I saw the whole picture. Paul Giamatti was sensational here as well, I mean I enjoy the guy and all but this was by far one the strongest and best characters I’ve seen him play (that and I enjoy his dark side because as ridiculous as it was SHOOT ‘EM UP was still lots of fun thanks to him). Biel was Biel (I never feel she’s truly there) and Rufus Sewell is always a delight though I wish he’d go back to his DARK CITY roots and play another good guy for a change.
THE ILLUSIONIST was an impressive delight and my only real complaint is that I waited so long to watch it. I should have known I’d love it as I loved THE PRESTIGE and Clive Barker’s underrated LORD OF ILLUSIONS, now there is a concept I’d like to see two more films employ, that being the evil side of magic. Speaking of the evil side of the coin, I also enjoyed THE SKELETON KEY (though I might be the only one). There are plenty of films that dabble in magic, the supernatural or the dark arts but rarely do we get films that are dedicated to it like this one. That said, you rarely get such a phenomenal cast and epic script either so I feel extra lucky for being able to review this flick. Take it from me folks, if you have yet to catch this film, there’s no time like the present.
When so many great things fall into place in a film it becomes nothing short of a delight to watch. That’s how I felt while watching THE ILLUSIONIST, completely delighted from beginning to end. This is a fantastic story of magic and intrigue told competently, in just the right tone and brought to life with just the right actors. What more can you ask for, better special features I suppose but we can’t win ‘em all.
BLU-RAY REVIEW
Video: 1.85:1 Widescreen in 1080p HD with AVC codec. Vienna looked fantastic as did the theatre stage settings, overall the transfer was phenomenal.
Audio: 5.1 DTS-HD in English, French and Spanish with the same subtitle options. The score was excellent, the accents believable and as I said, the script was well written.
Commentary with Neil Burger: Writer/Director Neil Burger walks us through the film expressing his love and admiration for all things magic. I couldn’t agree more and share his enthusiasm as I wish they would make more films like this one, THE PRESTIGE and LORD OF ILLUSIONS.
The Making of The Illusionist (3:59): This short feature doesn’t explain how they made the film, rather has the actors (and actress) explain a bit about their characters and/or roles in the film instead.
Jessica Biel on The Illusionist (1:29): Yeah…this segment is about a minute and a half of Biel talking about her character just as she did in the previous feature including what she’s already said. It annoys the hell out of me when they do this.
Previews: There is a theatrical trailer as well as a handful of other previews. This combo pack features a separate Blu-ray and DVD copy of the film.
This is not the worst movie ever made. It’s close, and it should be mentioned in the same breath as the all-time worst movies, but at the end of the day, this is not the worst. It’s just really, really bad. I’ve actually seen it four times over the past 15 years, each time at the nudging of someone that hasn’t seen it and insists; it can’t be that bad. But 136 minutes later, they inevitably mutter the words; “wow, it really was that bad”. I will say that after the fourth viewing, I realized a couple of things about SHOWGIRLS that I hadn’t noticed before. The first thing I noticed is that it has definitely ascended to the so-bad-it’s-good level and it’s actually fun to watch, just for how horrible it is. The second thing is that under all the gratuitous sex and nudity, I think there could have been a decent movie in here if it weren’t for all the failures.
The idea of a hooker trying to go legit as a Vegas showgirl is not a bad idea. In 1995, it was something that hadn’t been explored before and with the right talent, it could be an enjoyable film. Establish some back-story for the lead female, maybe towards the end of her hooking days, then get her to Vegas where she makes a promise to go straight. A little bouncing around at different clubs and then let her have her big shot. We’ve seen similarly themed movies with male criminals that are trying to turn their life around, so the basic mold can work. So I’d like to think that when this film was early in the production phase, that’s what they had in mind. I don’t know where the horribly wrong turns occurred, but they managed to go out of their way to screw up this movie.
In 1995, Elizabeth Berkley was desperate to break out of her bookworm, nerdy ‘Saved by the Bell’ character. And what better way to prove to the world you’re a serious actress than to star in an NC-17 film that was just a few money shots away from being a porno? To be fair to her, this movie is not her fault and starring in a movie directed by a good director like Paul Verhoeven and featuring some respected actors was actually a good move on her part. No, if I’m going to blame anyone, it’s going to be Verhoeven and screenwriter Joe Eszterhas. Picking it apart so many years after every viewer has spouted off dozens of problems seems pointless, but the film’s failures all come back to amateur directing and second-rate screenwriting.
One thing I’ve always found fascinating about this film is how they managed to show so much nudity and sex, yet make it as un-erotic as humanly possible. Berkley is a beautiful woman and Gina Gershon has a lot of sex appeal of her own, but Verhoeven manages to somehow show these two women naked and in the most unsexy way imaginable. The seizure-sex scene is infamous now for making the audience laugh while we’re in a somewhat pivotal plot point in the film.
I don’t know the intention of the film, at least not from Paul Verhoeven. If he set out to make a campy NC-17 film that made little sense, featured atrocious acting and uncomfortable sex scenes, then he accomplished his goal. I find it hard to believe that he wanted to tell a real story and just failed so miserably. He has made some decent films over the years, so there’s proof he knows how to make movies. But with all of this said, every movie fan has to watch this so they can soak in just how horrible of a film it really is.
BLU-RAY REVIEW
Video: The glitter-soaked breasts never looked as good as in this Blu-ray. The picture was crystal clear.
Audio: The audio was also nice, even though Verhoeven didn’t utilize the surround speakers very much.
Commentary with David Schmader: Schmader is a writer from Seattle that gained notoriety by doing commentaries over SHOWGIRLS in screenings. It’s hard to tell where he’s coming from in this commentary track. He spends a lot of time ripping the film, but he does seem to have an appreciation for it and seems to really enjoy it. I found his track to be funny for the most part, but confusing as to his real feelings of the film at others.
Pole Dancing: Finding Your Inner Stripper (11:53): This is a workout video utilizing various stripper moves. No actual stripping occurs.
Lap Dance Tutorial (4:54): Some slutty stripper teaches women how to give a lap dance and then utilize your newfound skills to manipulate your man. Whatever. If you’re going to abandon all morals and use your sex appeal to make money from a man, there are other skills that would probably come in more handy.
A Showgirl’s Diary (10:56): This was an odd compilation of storboards and behind the scenes footage. Not much to see here.
You can also watch the film with a Pop-up trivia track that continues to slam the film at every turn.
I really wanted to like THE LOSERS. Maybe it’s my affinity for the lesser known comic books or maybe the A-Team-like storyline connected with me, but I really, really wanted to like THE LOSERS. Unfortunately, the whole film felt like that friend you used to have, but now you avoid because you’ve grown up and they haven’t. Hollywood has just come too far for an unoriginal, poorly developed action film like this to still be acceptable.
When I say “A-Team-like”, I mean it. The similarities between the two films are numerous to a disturbing degree. We pick up with a team of super-soldiers whose leader disobeys an order to destroy a village when he sees 25 school children walk into a building. During his efforts to rescue said children, he and his team watch as the helicopter taking them to safety blows up in mid-air. They trace the destruction back to an evil CIA mastermind, Max (although we never really learn who he works for) that was trying to kill them. With the help of a wealthy, mysterious woman, they get the necessary funds to exact their revenge on Max.
Jason Patric portrays Max as a laughable, cartoonish villain. It was clear the filmmakers had no natural way of making him look mean and menacing, so they establish his villainy by having him kill a couple of completely innocent people. I assume this was to get a laugh from the audience, but all I could manage was an eye roll. We’ve just seen that too many times for it to be shocking or humorous and I was frustrated the filmmakers took such an easy way out on the big bad guy. But he wasn’t alone when it comes to underdeveloped, unoriginal characters. None of “the losers” (we never learn why they’re called that) offer anything we haven’t seen in a bad 80′s action series. I felt the most sorry for Chris Evans, who of course signed on to this long before he knew he was going to be playing Steve Rodgers. I’m sure if he’d known at the time of signing that he’d be leading the Avengers for years to come, he would have run out the room screaming.
The action scenes were also ruined by an overall lazy effort. None of them were anything we haven’t seen before, but the few opportunities they had for originality, they flubbed up. For example, the scene where Evans’s character points his hands at two guys as if to shoot them while a sniper shoots them from behind him was pretty cool. But the horrible one-liners diminished the effect and the poor, quick build up and lightning fast ending to the scenes made me think they just wanted to throw that scene in the film without worrying about how it got there.
So clearly, I was disappointed with THE LOSERS. I enjoyed THE A-TEAM because it had great characters and at least offered some story to go along with the ridiculous stunts. I don’t ask for a lot from my summer action films, but this film felt like recycled garbage and no matter how hard you try, you just can’t shake the feeling you’ve seen it before.
BLU-RAY REVIEW
Video: Something about this transfer felt off to me, but I don’t know if it was the transfer or just the way it was shot. Everything seemed brighter than normal and “plastic-y”. And the black levels faded at times, making the darker scenes seem dull.
Audio: The audio great and given the numerous explosions and sound effects, this sounded wonderful
Action-style Storytelling (9:58): A couple of comic book guys sit in and talk about the comics and the inspiration for writing them. They allude to the idea that the comics already felt like a movie and so the transition was easy. This is great for people that already liked the comic.
Band of Buddies: Ops Training (16:03): I was hoping this would focus more on the actors involved, but no, this is more quick cuts of the making of the movie. They talk to some soldiers, focus on the Puerto Rico shoot and touch on the action shots. Nothing too in depth here.
Zoe and the Losers (5:54): Zoe Saldana and Sylvain White talk about her role in the film.
Deleted Scene (:59): Chris Noth shows up for a quick cameo for an ending that was actually better than what we got in the original cut.
At first glance, CAUGHT IN THE CROSSFIRE looks like a cheap, poorly conceived straight to video thriller full of drugs, gangs, corrupt cops and bad acting. Not surprisingly, that is exactly what this is. I don’t have a “but” or “however” to add to my original pre-conceived assessment. No disguising it, this Blu-ray fits the cover.
The film opens with two homicide detectives, Briggs (Chris Klein) and Shepherd (Adam Rodriguez), on their way as back up to a gang related shooting. In their custody is Tino (Curtis “50 Cent” Jackson), a reluctant gang informant. Briggs (suspiciously similar to Riggs from LETHAL WEAPON), providing as much exposition as possible, delivers all this information loudly. As soon as they reach their destination director Brian A. Miller chooses to use a Michael Mann hand held style of camera work. He stays in tight on the action with an overly shaky feel. This is very distracting and actually reveals how close in proximity the action was taking place when I believe it was intended to appear more distant. Well nearly everyone is gunned down as our two detectives are caught in the crossfire…thus the title. The rest of the film is shown in flashbacks as the two partners tell their side of the entire investigation inside an interrogation room slowly unraveling the corruption within the department. Why aren’t the cops that did all the killings during the crossfire being questioned? I never did figure out why they were the one’s in trouble.
The acting by Rodriguez and Cent…errr…Fity…how about Half Dollar? Anyway their acting was adequate I guess. Seriously, Curtis “$.50” Jackson, who was also an executive producer, did alright I guess, so I have to give him some credit. But he definitely should keep to material he knows. For the most part, everyone overacted some, but they were all overshadowed by Mr. Chris Klein. What happened to that guy from ELECTION or even AMERICAN PIE? Klein is absolutely terrible in this picture. He has a charisma that makes him interesting to watch but his acting is atrocious. He yells every single line enunciating so clearly it’s as if he is showing off his memorizing skills. He held one angry note through his entire performance. In the interrogation room he used big gestures pouring out all his emotional actions and movement that an Acting 101 class would consider overacting. Maybe he should stick to intentional comedies.
To be fair, I see some potential in writer/director Brian A. Miller. Sure this was bad but he is a young novice at this and I think with better actors and a little more care he could have faked this poor script into an OK script. I found myself caught up in the drama every now and again but then my brain kicked in and recognized all the senseless plot holes. My advice is have someone look over your material, put in a few rewrites, fix any area that may seem questionable. Otherwise you need to get a production and style of Michael Bay proportion that the audience forgets your faults and mindlessly enjoys themselves.
BLU-RAY REVIEW
Video: (Widescreen 1.78:1) The picture quality was a bit poor. Some of the scenes were too dark and certain edits were grainier not matching other shots within the same scene
Audio: (5.1 DTS-HD) Lots of gunshots and yelling heard just fine.
Outtakes (10:33): I am shocked at how long this went on with absolutely zero funny outtakes.
Original Trailer and Trailer Gallery for Fox Searchlight Films
Twentieth Century Fox Home Entertainment has just announced that the infamous horror/sci-fi franchise, the ALIEN ANTHOLOGY, will be released on Blu-ray in a six-disc set on October 26, 2010. The set will include roughly 60 hours of special features and extras, including the features that were released when the “Legacy” edition was released in 1999. If you are a fan of any of the ALIEN films then you are in for quite a treat. And if you just can’t wait for this special edition to hit stores, you can pre-order starting September 22, 2010. The special features for the set will include:
Disc One: Alien
Audio commentaries:
Director Ridley Scott, writer Dan O’Bannon, executive producer Ronald Shusett, editor Terry Rawlings, and actors Sigourney Weaver, Tom Skerritt, Veronica Cartwright, Harry Dean Stanton and John Hurt
Ridley Scott (on theatrical cut only)
Composer’s original isolated score by Jerry Goldsmith
Final theatrical isolated score by Jerry Goldsmith
2003 Director’s Cut with Ridley Scott Introduction
Deleted and extended scenes
MU-TH-UR Mode interactive experience with Weyland-Yutani Datastream
1979 Theatrical Version
Disc Two: Aliens
Audio commentary by director James Cameron, producer Gale Anne Hurd, alien effects creator Stan Winston, visual effects supervisors Robert Skotak and Dennis Skotak, miniature effects supervisor Pat McClung, and actors Michael Biehn, Bill Paxton, Lance Henriksen, Jenette Goldstein, Carrie Henn and Christopher Henn
Composer’s original isolated score by James Horner
Final theatrical isolated score by James Horner
Deleted and extended scenes
1991 Special Edition with James Cameron introduction
1986 Theatrical Version
MU-TH-UR Mode interactive experience with Weyland-Yutani Datastream
Disc Three: Alien3
Audio commentary by cinematographer Alex Thomson, B.S.C., editor Terry Rawlings, alien effects designers Alec Gillis and Tom Woodruff, Jr., visual effects producer Richard Edlund, A.S.C., and actors Paul McGann and Lance Henriksen
Final theatrical isolated score by Elliot Goldenthal
2003 Special Edition (Restored Workprint Version)
Deleted and extended scenes
1992 Theatrical Version
MU-TH-UR Mode interactive experience with Weyland-Yutani Datastream
Disc Four: Alien Resurrection
Audio commentary by director Jean-Pierre Jeunet, editor Herve Schneid, A.C.E., alien effects creators Alec Gillis and Tom Woodruff, Jr., visual effects supervisor Pitof, conceptual artist Sylvain Despretz, and actors Ron Perlman, Dominique Pinon and Leland Orser
Final theatrical isolated score by John Frizzell
2003 Special Edition with Jean-Pierre Jeunet introduction
Deleted and extended scenes
1997 Theatrical Version
MU-TH-UR Mode Interactive Experience with Weyland-Yutani Datastream
Disc Five: Making the Anthology
Superior Firepower: Making Aliens
57 Years Later: Continuing the Story
Building Better Worlds: From Concept to Construction
Preparing for Battle: Casting and Characterization
This Time It’s War: Pinewood Studios, 1985
The Risk Always Lives: Weapons and Action
Bug Hunt: Creature Design
Beauty and the Bitch: Power Loader vs. Queen Alien
Two Orphans: Sigourney Weaver and Carrie Henn
The Final Countdown: Music, Editing and Sound
The Power of Real Tech: Visual Effects
Aliens Unleashed: Reaction to the Film
Enhancement Pods
Wreckage and Rage: Making Alien3
Development Hell: Concluding the Story
Tales of the Wooden Planet: Vincent Ward’s Vision
Stasis Interrupted: David Fincher’s Vision
Xeno-Erotic: H.R. Giger’s Redesign
The Color of Blood: Pinewood Studios, 1991
Adaptive Organism: Creature Design
The Downward Spiral: Creative Differences
Where the Sun Burns Cold: Fox Studios, L.A. 1992
Optical Fury: Visual Effects
Requiem for a Scream: Music, Editing and Sound
Post-Mortem: Reaction to the Film
Enhancement Pods
One Step Beyond: Making Alien Resurrection
From the Ashes: Reviving the Story
French Twist: Direction and Design
Under the Skin: Casting and Characterization
Death from Below: Fox Studios, Los Angeles, 1996
In the Zone: The Basketball Scene
Unnatural Mutation: Creature Design
Genetic Composition: Music
Virtual Aliens: Computer Generated Imagery
A Matter of Scale: Miniature Photography
Critical Juncture: Reaction to the Film
Enhancement Pods
MU-TH-UR Mode Interactive Experience to Access and Control Enhancement Pods
The Beast Within: Making Alien
Star Beast: Developing the Story
The Visualists: Direction and Design
Truckers in Space: Casting
Fear of the Unknown: Shepperton Studios, 1978
The Darkest Reaches: Nostromo and Alien Planet
The Eighth Passenger: Creature Design
Future Tense: Editing and Music
Outward Bound: Visual Effects
A Nightmare Fulfilled: Reaction to the Film
Enhancement Pods
Disc Six: The Anthology Archives
Alien
Pre-Production
The Art of Alien: Conceptual Art Portfolio
First Draft Screenplay by Dan O’Bannon
Ridleygrams: Original Thumbnails and Notes
Storyboard Archive
Sigourney Weaver Screen Tests with Select Director Commentary
Cast Portrait Gallery
Production
The Sets of Alien
The Chestbuster: Multi-Angle Sequence with Commentary
Video Graphics Gallery
Production Image Galleries
Continuity Polaroids
H.R. Giger’s Workshop Gallery
Post-Production and Aftermath
Additional Deleted Scenes
Image & Poster Galleries
Experience in Terror
Special Collector’s Edition LaserDisc Archive
The Alien Legacy
American Cinematheque: Ridley Scott Q&A
Trailers & TV Spots
Aliens
Pre-Production
Original Treatment by James Cameron
Pre-Visualizations: Multi-Angle Videomatics with Commentary
Storyboard Archive
The Art of Aliens: Image Galleries
Cast Portrait Gallery
Production
Production Image Galleries
Continuity Polaroids
Weapons and Vehicles
Stan Winston’s Workshop
Colonial Marine Helmet Cameras
Video Graphics Gallery
Weyland-Yutani Inquest: Nostromo Dossiers
Post-Production and Aftermath
Deleted Scene: Burke Cocooned
Main Title Exploration
Deleted Scene Montage
Image Galleries
Special Collector’s Edition LaserDisc Archive
Aliens: Ride at the Speed of Fright
Trailers & TV Spots
Alien3
Pre-Production
Storyboard Archive
The Art of Arceon
The Art of Fiorina
Alien3 Advance Featurette
Production
Furnace Construction: Time-Lapse Sequence
EEV Bioscan: Multi-Angle Vignette with Commentary
Production Image Galleries
A.D.I.’s Workshop
Post-Production and Aftermath
Visual Effects Gallery
Special Shoot: Promotional Photo Archive
The Making of Alien3 Promotional Featurette
Trailers & TV Spots
Alien Resurrection
Pre-Production
First Draft Screenplay by Joss Whedon
Test Footage: A.D.I. Creature Shop with Commentary
THE WHITE RIBBON is about a small village in North Germany just before World War I where some strange events begin to happen. Narrated by the town’s schoolteacher, the strange acts first involve a wire tripping the doctor’s horse with him on it. While he is away at the hospital more and more life endangering accidents keep happening. This religiously conservative town grows more and more nervous of the mysterious events, which affect the jobs and relationships within. The white ribbon is a symbol meant as a reminder of innocence and purity. The ribbon was often tied to a child as a tactic used to reprimand them for being disobedient or misbehaving. After a deeper look we find out that perhaps the adults may need to heed their own advice and may not be as well behaved, as they want their seemingly suspicious problematic children to believe.
Director Michael Haneke is quite the impressive director. His previous work was 2005’S critically acclaimed French film HIDDEN and both versions of FUNNY GAMES. He has a patient style that allows the action or lack there of tell the story, letting the audience use their imagination. Some of the most intense scenes happened behind closed doors. He keeps the camera following the characters but then plants the camera outside the room focusing on quiet simple items like a door, picture or mirror as the sounds from the other room carry on. The tactic creates a feeling inside the viewer like an unwanted guest that is witnessing too much of the families personal dealings. We don’t get the whole story but we just happen to catch a little piece of how the family operates and we can’t quite intervene. The quietness of the film, dwelling on the small moments creates a very powerful intensity. One of the most horrific verbal abusive acts I have ever witnessed on screen works because it is done in a quiet collected manner.
The black and white cinematography is exquisite. The authenticity and impact of the film would have been lost if done in color. The entire look was absolutely gorgeous and authentic. All the acting was phenomenal, specifically from all the children actors who seem to have a grace and wisdom beyond their years. They handled all the emotion and questions with genuine care. Their natural intuitiveness captures the heart and essence of the film.
This is a hauntingly dark film, which cleverly masks itself like the village as simple and ordinary. The scary thing is that these terrible situations the film exposes are becoming dangerously ordinary. I had some questions about the choice of ending but I quickly realized it had stuck with me deeply and the quiet mystery of the film, never knowing the full story is what makes it so impactful. Whether you like it or not, great art leaves a memorable lasting impression and THE WHITE RIBBON is a great piece of work that I will not soon forget.
BLU-RAY REVIEW
Video: (1080p High Definition 1.85:1) Great quality. Clean as a whistle in the visual department, which helped take in the beautiful cinematography.
Audio: (5.1 DTS-HD) Very good sound. A very quiet film with mostly words spoken, which I had to read subtitles for anyway.
Making of The White Ribbon (38:33): Shows the process during a few of the scenes. Haneke is very candid when directing the actors, extras, hair, costumes and art direction. We also get a few screen tests of the child actors who were phenomenal.
My Life (50:07): This is an interesting insight into Michael Haneke as a person and director gather interviews from himself and actors he has worked with clips from many of his films. If you are a fan of Haneke, I highly recommend this feature.
Cannes Film Fesival Premiere (18:36): A long table interview with the director and actors who all speak talk about how great the experience was, followed by the actual winning of the award and speech at the ceremony.
An Interview with Michael Haneke (14:08): The director speaks about the process and working with the young actors.
Amanda Seyfried is everywhere these days. Although she typically does the light-hearted fare like MAMMA MIA or LETTERS TO JULIET, she took a drastic departure from those family films to do CHLOE, an erotic suspense thriller that showcases Seyfried’s darker side and shows that the young actress is set to be more than a rom-com staple. As well as she, and everyone else performed, the movie lacked direction and was riddled with too many inconsistencies to be noteworthy for anything other than Seyfried’s welcomed departure from the cheesy romance films.
After he misses his surprise birthday party, Catherine Stewart (Julianne Moore) begins to think her dashing husband David (Liam Neeson) is cheating on her. Needing the proof for her own piece of mind, she hires a prostitute named Chloe (Amanda Seyfried) to see if her husband will go for her. When Chloe reports back that he did, in fact, go for her, Catherine discovers that she’s not only upset at her husband’s indiscretion, but she’s also aroused by the young Chloe. This leads to a dangerous obsession that is quickly taken too far for Catherine’s liking.
One of the biggest faults of the film is how they deal with and develop the character of Chloe. In the beginning, she’s presented as this strong, confident seductress that knows what she wants and how to get it. We continue this character development as we see her interact with Catherine and David and the audience begins to believe Chloe is much more than just a prostitute. But the third act is predicated on Chloe being something other than strong and confident, which changes the whole tone of the film. She inexplicably turns into a disturbed, weak and needy little girl that is neither strong nor intelligent. This change comes too quickly and contradicts everything we had just seen.
I also kept waiting for the big payoff. I liked the idea of a married woman hiring a prostitute to see if her husband will sway when tempted. I also love the idea of the prostitute using the wife’s insecurities for her own benefit. But neither idea was fully developed. I was hoping there was going to be some master plan and we’d get a justification for everything we’d witnessed, but the ending fell with a thud and the events in the film turned out to be nothing more than what we saw. Director Atom Egoyan has done this kind of thing before in films like EXOTICA and WHERE THE TRUTH LIES, which leads me to believe he relies too heavily on the erotic scenes and loses focus with the story.
As much as I enjoyed the eroticism between Chloe and Catherine, I need a lot more from my films than a well-filmed sex scene. Egoyan missed a chance to tell a sophisticated thriller and instead he let the audience down by failing to develop any type of mystery or deviant plan. The performances in CHLOE were top notch, but they couldn’t make up for the underdeveloped story.
BLU-RAY REVIEW
Video: This is a beautiful transfer with black levels displayed wonderfully. The movie goes from well-lit to dimly-lit several times, but the transfer held true, which can be a challenge for some smaller films.
Audio: The surround channels weren’t used often as this is a dialogue-driven film, but what we got was fine.
Commentary with Amanda Seyfried, Atom Egoyan and Erin Cressida Wilson: I was worried when I saw who was participating in this commentary that it would be a spliced together track, but thankfully, they’re all together, or at least do the track together. Atom and Erin do most of the talking with Amanda chiming up when prompted. I enjoyed hearing from Erin, the screenwriter, just to get some of her insights into the script. Overall, it’s a good track and a definite must for fans of the film.
Introducing Cloe (25:42): The cast and crew show up to discuss what the film is and what the film means. It feels like it’s a made for TV featurette, so everyone is trying to tell you how great the film is. We get a little details on how the script came to be and how the cast became a part of the film. It’s a nice featurette for those that don’t have time for the commentary.
Deleted Scenes (5:24): The first deleted scene is a powerful one and adds a brand new element to the film with Catherine’s son. The other kind of plays off that storyline and add more to Michael’s storyline. I liked the storyline, but it needed more than two scenes to develop, so I’m glad these were cut.
Dr. Thorndyke is the newly appointed head of the Psychoneurotic Institute for the very, very Nervous. He soon discovers that not only is something amiss but that his late predecessor didn’t in fact die of natural causes and now he’s being framed for murder. He must battle the corrupt faculty members, assassins and his own condition “High Anxiety” if he’s to clear his name and survive the ordeal.
Sweet Jesus where do I begin!? This movie was beyond the realm of ridiculous, it was painstakingly horrible from start to finish! Now before you begin to think I’m judging this thing too harshly, I assure you I go into every film with an open mind (this might be a good time to mention I watched ECLIPSE over the weekend and enjoyed it. SEE, I told you I was fair). I won’t say I’m a fan of Mel Brooks per say but I don’t dislike the guy either. Some of his other films were indeed funny (or at least funny-ish) such as DRACULA: DEAD AND LOVING IT, ROBINHOOD: MEN IN TIGHTS and of course SPACEBALLS. HIGH ANXIETY is a far cry from any of those.
First off I thought this was a comedy but I didn’t laugh…not once. I would further love to add that I could hear the sound of crickets chirping every time a lame as hell joke slithered its way into the dialogue but even the crickets knew better than come out for this nonsense. I know this was made in seventy-seven but so were STAR WARS, CLOSE ENCOUNTERS OF THE THIRD KIND and THE DEEP. I’m all for older films as there are many great ones to choose from but this is not one of them. I’m not a fan of overacting antics, unless of course your name is Leslie Neilson but even he didn’t do it like this. These characters are cringe worthy on every level, especially the nurse. I wanted nothing more than to snap her neck every loathing second she was on screen.
Next we have the ode to Hitchcock angle which also didn’t set well with me. If I were Alfred Hitchcock not only would I be rolling over in my grave each and every time someone uttered the words “High Anxiety”, I ‘d have also risen from the grave to nut punch Mel Brooks and crane kick the holy hell out of anyone and everyone involved with this movie as well as their friends and families. The James Bond reference to the Jaws villain was also a slap in the face. Between the sad borrowed references, the annoying musical number that I still can’t get out of my head and the irritating bondage content I seriously don’t know how I avoided shooting myself in the face.
HIGH ANXIETY may have a place in the hearts of older crowds or people who share a complete opposite idea of comedy that I do but like I said, I’m not against Mel Brooks or some of his older works so I can’t help but chalk this up to just being a bad film overall. Of course, that said when it comes to older films we all have our favourites yet I’ll be the first to admit that what makes these oldies nostalgic and fun is the fact that we saw them back in the day first. Watching old films like this one now, for the first time, is never a particularly good idea regardless of how good or bad it’s supposed to be. So bare that in mind if you have yet to watch this movie. My suggestion, watch SPACEBALLS instead.
BLU-RAY REVIEW
Video: 1.85:1 Widescreen in 1080p HD with AVC codec. I saw far too much, far too clearly by being exposed to this film in HD. Yes, I feel optically violated.
Audio: 5.1 DTS-HD in English, French, Spanish and Portuguese with the same subtitle options. I’m firmly sure that this film is equally awful in all four languages.
Hitchcock and Mel:Spoofing the Master of Suspense (29:20): Brooks and some greatly over-the-hill actors and actresses take this opportunity to express their love and admiration of the Hitchcock era and talk about why they went in this direction. I can feel Hitchcock stirring in his grave.
The“Am I Very, Very Nervous?” Test (1:34:05): This incredibly lame feature plays along with the entire film showing a heart rate monitor in the top left corner to let us know when Mel is getting nervous.
Don’t Get Anxious! The Trivia of Hitchcock (1:34:05): Another play along feature for the film that’s pretty much a “Much Music Pop-up Video” deal only with Hitchcock trivia instead.
Previews: There’s a theatrical trailer as well as trailers for various other Mel Brooks films.
Wannabe actor Jimmy Alto is slumming through Hollywood trying to get that one big break every aspiring actor dreams of, problem is it just isn’t happening for him. With his woman at her wits end, Jimmy and his bumbling sidekick William unwittingly begin a series of events that end up creating a fictitious vigilante organization with Jimmy acting out the role of the leader. The situation rapidly gets out of control as Jimmy constantly tries to trump his antics and as a result makes the police’s most wanted list.
At first glance one might ask themselves why Joe Pesci and Christian Slater would take on a project like this one (seeing as how I’d never heard of this, I myself asked this very question). JIMMY HOLLYWOOD is a different take on the search for stardom. So many people dream of running away to Hollywood and becoming a famous actor or actress but I think we all know how that tends to end most of the time. Case in point, a High School buddy of mine Mike went off to L.A. and then Vancouver to do just that. Like Jimmy, he even referred to himself as an “actor” despite never really starring in anything substantial. Frustrated, Mike moved back home and got into personal training where’s he’s now happy and doing well. Jimmy takes a different route and it’s plainly obvious how he suffers because of it.
With that in mind, the story does shed a distinct light upon the deconstruction of Hollywood California compared to the glory days of celebrities and stardom. The pace is regrettably slow at first, but the underlining themes and emotions tied to these characters are justifiable and even endearing. That said, Jimmy’s so called solution to his acting draught brings about the comedy aspect of this film but ironically enough brings with it a fair amount of truth. I’m not going to say things would play out the same way in the real world but I will say that the end result would no doubt be similar (I won’t go into details and ruin an ending that made the two hours well worth while).
The easiest thing to love about this film is Pesci himself. Sure, the man’s made just as many throwaway flicks as he has blockbusters but there’s no questioning his flawless personality and ability to entertain (I’ll always love his pen scene in CASINO and pretty much his entire performance in GOODFELLAS most of all). I was disappointed in Slater here though, I mean really, this was the best you could pull off in the nineties!? I met Slater in Toronto about four years ago when he was promoting a film at the Toronto Film Festival and he’s a hell of a cool guy. He was stone cold sober and I was absolutely trashed but he was able to look past that and we had a pretty good conversation about the business. He’s a fantastic actor and I hope he gets a comeback role he can bank on here soon.
JIMMY HOLLYWOOD isn’t awe inspiring or “must see” cinema but I won’t argue the accuracy and relevance of this film’s underlining message concerning Hollywood’s days of old. If you’re a fan of Pesci’s work you’ll no doubt enjoy him here but don’t expect much out of Slater as his role is sadly hollow aside from the remotely humorous Mummy phobia from his childhood. All in all I could recommend it for that rainy day when nothing else is on but don’t waste your cold hard cash on it, especially considering the lack of extras.
BLU-RAY REVIEW
Video: 1.78:1 Widescreen in 1080p HD with AVC codec. Hollywood looks rather glum through the eyes of Jimmy Alto but the transfer’s decent for a mid nineties flick.
Audio: 5.1 DTS-HD in English and Spanish with the same subtitle options. For all the dialogue Slater has, most of it is annoyingly repetitive and that’s a shame.
Previews: Sadly there isn’t much here to work with aside from one commercial sporting some LIONSGATE flicks coming soon to Blu-ray. I’m glad to see CHAOS is coming though.
What would you do if you were stranded with someone you didn’t trust in the middle of the Alaskan wilderness? Why is Anthony Hopkins always getting into a brawl with a bear? These pivotal questions and many more are answered in Mark Steven Johnson’s THE EDGE.
At its core, THE EDGE is more than just a tale of survival. Wonderfully written by well-known playwright David Mamet, the story centers on two men- one a billionaire named Charles Morse (Anthony Hopkins) and the other a cocky fashion photographer named Robert “Bob” Green (Alec Baldwin). The men come together for a fashion shoot for Charles’ much younger wife Mickey (Elle MacPherson). During the shoot, Charles is looking on at his wife while Bob gets ready to take the photographs. Before he starts, he noticeably kisses Mickey on the cheek. Mickey immediately glances at Bob and gives him a wink. This sets something off in Charles, and not even a small birthday celebration can take his mind off it. This is hardly the beginning of their troubles…
The next day Bob is looking to scout a new model. Charles lends his plane and their friend Stephen (Harold Perrineau) joins the ride. While in the air, Bob tried to push Charles’ buttons. Bob humors Charles by questioning him on the comfort in his riches, saying that it must be hard to trust anyone. Charles is intrigued by his questioning and asks him why he even likes him. Bob simply answers, “Your style, your wife…” Then moments later, the plane collides with a flock of geese that destroy the planes propellers. The plane goes down into the wilderness at terrifying speeds. When they hit the ground, they find the pilot was killed, but everyone else is still breathing.
The rest of the film is the struggle between Charles and Bob. Bob spends most of his time taking shots at Charles. Bob’s jealousy is obvious from the first couple of scenes, and yet he is bound and determined to make Charles break. A very calm, collected, confident man, Bob does not spend the time they have in the wild worried over trivial things. Although Bob is just picking at Charles to anger him, Charles takes the words and turns them into an experience. The progression of the movie is basically watching Charles come into himself, while Bob’s feeling perpetuate.
While the movie didn’t immediately pick up for me until the crash, it was still a great piece of filmmaking. Hopkins and Baldwin play tremendously well off of each other. This film also made me think about Baldwin and his overall acting skills. Oddly this was never anything I really thought about before. Baldwin is a solid comedy actor in my opinion, but I don’t usually feel him as much when it comes down to a dramatic role. I always feel like he’s taking his character much farther than he has to. But here, he nails it. It almost seems like Bob fits that Baldwin persona. So in turn it’s so easy to buy into. Another thing I immediately noticed was that someone who had a strong background in playwriting wrote this story. All the elements are there for the set up—a slow beginning, plenty of dialogue between two central characters, and an ending that is fulfilling in a bittersweet sort of way. I’d say that this one is a can’t miss. Besides, you want to make sure you catch Hopkins vs. the bear.
BLU-RAY REVIEW
Video: I was really surprised at the transfer on this one. Great quality for a film that was made 13 years ago. No grainy patches, color is great, and overall very smooth. (2.35:1 Widescreen).
Audio: Crystal clear sound on this one. Again, the transfer is great. If the video/audio weren’t so great I would have given the blu-ray a much lower score, especially since there were no special features. (5.1 DTS-HD).
The third and final installment Sergio Leone’s Man With No Name trilogy is by far and away the best. You can really see why other great filmmakers love this picture. We have three main protagonists and while they are labeled The Ugly- Tuco (Eli Wallach), The Bad- Angel Eyes (Lee Van Cleef) and The Good- Blondie (Clint Eastwood), I assure you they are all bad. In fact, we get the most back-story on The Ugly so while he might be the dirtiest, we find ourselves rooting for him at times. It’s an interesting perspective to give the audience three men to root for when none of them are good. Yes, Eastwood’s mysterious collected strength wins our hearts but really we are put in the position to root for the lesser of three evils.
Tuco, a wanted man with a bounty on his head, has teamed up with Blondi, a drifting gunslinger, to make a few dollars cheating the system off Tuco’s bounty. Blondie cuts the bond and Tuco makes it his mission to cause Blondie to suffer. Angel Eyes, a bounty hunter who always finishes a job that he’s paid for, is looking for a man that knows the whereabouts of a hidden treasure. That same man is killed but before he dies gives Tuco the location of a gravesite and Blondie the name of the tomb the money is buried under. The two once again make an untrusting partnership to find the gold. Angel Eyes discovers their knowledge and forces the two men to lead him to the gold as well. The three nemeses find themselves needing each other but looking for the right time to betray one another. Set against the Civil War backdrop their journey crosses paths with many interesting characters and scenarios.
The musical score is the strongest in this picture and Sergio wisely uses it often rather than the dialogue to push the picture along. It should be noted that THE GOOD, THE BAD AND THE UGLY is nearly three hours long and most of it is Leone’s directing choice to let the camera linger on action or show many cuts of the same scene. While I thought the style was a bit much in FOR A FEW DOLLARS MORE, it’s done to perfection here and actually more often. Many action directors today use slow motion on the action to draw out the final moment. Sergio Leone instead has his final action very quickly but draws out the moment leading up to it. You might say it’s his own version of slow motion. The final three-way shoot off at the end is intensely mesmerizing and a perfect example of Leone’s style. I guarantee anyone who comes across this moment on screen will be unable to look away and have to finish the picture.
I am truly fascinated with the depth and elaborate story telling of this picture compared to the rest. Sure some of it may be unnecessary but it all makes for an entertaining, heart-pounding great time. I see more and more of the influence this picture has on many of my favorite films.
BLU-RAY REVIEW
Video: (Widescreen 2.35:1) A terrific Blu-ray transfer. I am giving leeway to the fact that the original does not look near as good and you will be able to see the difference.
Audio: (5.1 DTS-HD) Again, like all of Sergio’s spaghetti westerns, he films without sound then dubs it over. Obviously there will be problem with the spoken audio but the Blu-ray does everything possible to improve the issue. The sound affects and score are top notch.
Audio Commentary from Film Historian Richard Schickel: A detailed look into the film from the biographer for Clint Eastwood films. Schickel’s voice is a bit drone but he does get tickled at some of the scenes.
Audio Commentary from Christopher Frayling: A detailed look into the film from the biographer for Sergio Leone. Of the two I enjoy listening to Frayling more but both give excellent historical, technical and random information in their commentary as true fans of the film.
Leone’s West (19:55): Interviews with the cast and crew discussing the location and Sergio’s directing style. You get pieces of interviews from some of the features in the previous films but this is still interesting nonetheless.
The Leone Style (23:48): Many of the cast and crew are interviewed again about Sergio’s lengthy scenes and how they affected the feel for the film and have influence others filmmakers. They also discuss how he worked with the cast. I highly recommend this feature.
The Man Who Lost The Civil War (14:23): A short documentary that chronicles the true conflict during the Civil War battles, that provides the background during the treasure hunt of our three lead characters.
Reconstructing The Good, The Bad and The Ugly (11:08): This is extremely fascinating, explaining what the technical process was just to restore all the films, so they look and sound better. They found old footage and added or re-edited to help continuity. They even went so far as to having Clint Eastwood and Eli Wallach redub some of their lines. Most Impressive.
Il Maestro: Ennio Morricone and The Good, The Bad and The Ugly- Part One (7:47): Jon Burlingame gives an in depth interview about how influential and important the score is to the film.
Il Maestro: Ennio Morricone and The Good, The Bad and The Ugly- Part Two (12:26): Music Scholar Jon Burlingame gives his analysis of Morricone’s brilliant score. This time it’s sort of a verbal essay over the music. This is strictly an audio feature but fascinating nonetheless giving a history of Morricone and Leone’s relationship.
Deleted Scenes (10:19): Two scenes the first is an extension of the Tucco Torture Scene, which goes on way too long. The second is a reconstruction of The Socorro Sequence, which is never seen in the film. They only have snippets so short cuts and images are put together as words are describing what would be happening. It’s like a book for the scene.
Trailer (6:48): Theatrical and French trailer. Both trailers mix up “The Bad” and “The Ugly” characters.
Confession time, I’m a huge Joss Whedon fan and don’t think he’s ever written anything bad, including the television series Dollhouse. Which is why I’m happy to announce that Twentieth Century Fox has just set a date for the Blu-ray release of DOLLHOUSE SEASON 2, which will be available October 12, 2010. Now sadly, this is the final season of the series and although it hasn’t received the fanfare of other television series from Mr. Whedon (Buffy the Vampire Slayer, Angel and Firefly) I don’t think it was really as bad as everyone made it out to be. Disregard the bad hype and check it out yourself, it isn’t very often that Mr. Whedon gets a series, so we all might as well enjoy what we can get. No details of the Blu-ray have been released.
In the second installment, director Sergio Leone is given more money, directly causing the quality to jump up quite a bit. He is beginning to feel more confident and therefore stretches out his scenes lingering on the exact look that he wants to achieve. While the length might seem unnecessary in some places, FOR A FEW DOLLARS MORE is definitely beautiful and inspiring to many films and filmmakers who will follow.
The film opens with Col. Douglas Mortimer (Lee Van Cleef), a bounty hunter with an arsenal of weapons stored away on his horse. Dressed in black, his tall demeanor matches that of No Name but his cocky smirk contrasts Eastwood’s keen squint. Mortimer’s patience and accurate shots with his James Bond-ish gadgets make him a deadly bounty hunter. Then we are introduced to Manco (Clint Eastwood). Yes, he does have a name in this extended installment. His mysterious calm demeanor along with his familiar cigar and poncho walks into a saloon and quickly guns down four bad guys. He too is a dangerous bounty hunter. Finally, we are introduced to the evil that is Indio (Gian Maria Volonte). With his maniacal laugh, he is definitely meant to portray a psychotic, willing to kill anyone from his own gang to women and children. He eases his pain, by hallucinating from the affects of pot. Yes that is correct, smoking marijuana is thought to make him more evil and crazy. Our two bounty hunters go after Indio and his gang individually then decide to team up to prevent a spaghetti western OCEAN’S ELEVEN style bank heist. The two are hesitant to trust each other and one secretly has different motives other than the bounty.
Although FOR A FEW DOLLARS MORE sounds like a sequel it’s more of another film in the same style as the first. It is a different storyline but has some of the same actors who are not necessarily the same character. I mean the actor who played the villain in the first is playing the villain here but obviously as a different character because he along with all the villains die. The film actually belongs to Eastwood and Van Cleef and I would argue in a lot of ways the film actually belongs to Van Cleef’s Mortimer. He seems to have more screen time and back-story, but then again what makes The Man With No Name so great is the less we know about him, which is due to Eastwood’s understated performance.
Once again the casting and camera work is phenomenal. This time around every character has a strong unique face that Sergio is unafraid to closely frame. Volonte is a little over-the-top as the villain but Eastwood and Van Cleef really seem to grasp the look of their character trusting the less is more attitude. The visual look of the film along with the score by Ennio Morrocone is once again magnificent.
BLU-RAY REVIEW
Video: (2.35:1 Widescreen) Another decent transfer capturing the beautiful cinematography.
Audio: (5.1 DTS-HD) The gunshots and music are terrific, however, once again the dubbing of the voices is a little off but again, that was how the film was shot.
The Christopher Frayling Archives: For A Few Dollars More (19:02): An interesting look at the artwork and advertisements for the film through all nations.
Commentary by Noted Film Historian- Sir Christopher Frayling: Another highly detailed commentary covering everything from technique and production to symbolism and history in the making of the film.
A New Standard: Frayling on For A Few Dollars More (20:14): Frayling discusses Sergio’s intention “to make fairy tales movies for grown ups”- I would take that to mean over-the-top shoot-em-up westerns.
Back For More: Clint Eastwood Remembers For A Few Dollars More (7:08):
In 2003, Clint spoke about his work with each of Sergio’s films. This is particularly on FAFDM. Eastwood always gives a fascinating insight and believed the pictures were too long, which I tend to agree with.
Tre Voci: For A Few Dollars More (11:05): The same “Three Voices” from the first film, producer Alberto Grimaldi, screenwriter Sergio Donati and Actor Mickey Knox all discuss interesting aspects working with Sergio Leone
For A Few Dollars More: The Original American Release Version (5:18): Three scenes with trimmed cuts for the American version. Most notably, a scene is cut where The Man with No Name is given a name.
Location Comparisons (12:12): These show stills of the film then what that same place looks like now. Most of the places are just empty land but one of the saloons is now a tourist spot
Knowing the basic premise of HOT TUB TIME MACHINE, you’ll probably guess that jokes about the 80’s are going to run rampant throughout. You’d be right in that assumption because most of the best laughs in the film revolve around the main characters either making fun of the decade or working in a joke where they know something about the future the others do not. Although some might complain about that, the truth is that the 80’s are ripe for jokes and just setting your movie in that decade is going to make it funny. Would anyone have enjoyed THE WEDDING SINGER had it been set in present day? Thankfully, the filmmakers played up the 80′s gag while at the same time inserting enough comedy to keep it rolling and keep the audience laughing.
After a failed suicide attempt of one of their friends, three guys get together and take their troubled friend to their old partying grounds on a ski resort. But time has not been kind to their old party place and now it’s a run down hole in the wall. Luckily, there’s a hot tub and so the gang hops in and gets plastered while wishing their lives had turned out differently. As you know from the title, the hot tub is also a time machine and the gang awakens to find themselves in 1986. While there, they have to decide if they want to change their future, or keep everything exactly as it was.
The story itself is completely far fetched, but there were a couple of things they could have done to make it a little smoother. First, Chevy Chase’s Repairman acted as the guide on the journey, but he was more confusing than anything and didn’t serve much of a purpose, other than to give the group a reason to get their deeds done before dawn. What I didn’t like was the gang’s initial decision to be careful not to change anything in fear of altering the future. This didn’t last long, but it felt like an unnecessary plot point and things didn’t get funny until they decided to change the future. I would have liked more time with the gang trying to live the perfect night of their youth and less time with them worrying about how the future was going to unfold.
As for the 80’s gags, there were plenty, ranging from the obvious 80’s background music to the subtle wardrobe choice of John Cusack wearing his trench coat from SAY ANYTHING. But the funniest part of the film was Rob Corddry, who was seemingly told to let loose and go crazy with this role. He did a great job and had some of the best comedic dialogue we’ve seen in a while. I haven’t really liked him in anything before this, so it was a nice treat to watch him hit this out of the park. Cusack and Craig Robinson played their typical characters with Robinson almost playing the exact part he played in ZACK AND MIRI MAKE A PORNO. But it works for him, so there’s no reason to change it up.
We’ve seen some of the time-traveling gags before in movies like AUSTIN POWERS, but they work again here because the four characters are pretty likeable. We accept their outrageous circumstances almost immediately, and we begin to care about their plights. It helps that the gags keep coming and although some were obvious, most were clever enough to make for some original comedy. It’s also impossible to watch this film only once and catch all the 80’s references. John Cusack alone digs at his 80’s resume several times, each time making the film that much more enjoyable.
BLU-RAY REVIEW
Video: Fox delivers a great video transfer with even the 80’s wardrobes looking good on this Blu-ray.
Audio: The audio was also impressive and this comedy used the surround channels more than most comedies to the fullest effect.
Deleted Scenes (11:45): A lot of these are extended cuts, but they’re worth the time. Rob Corddry does some nice improv and several other scenes add in a few gags.
Mini-Featurettes (6:34): I wasn’t sure what to call these since all of them are so short. They’re listed separately on the back cover, but they shouldn’t have been. None of these offer any information about the film and feel like they were made for marketing purposes.
Overall, I’m disappointed with the special features on this disc. Every comedy, especially one like this, has a ton of extra scenes with actors improv-ing various scenes. It would have been nice to get some of those gags on this disc. And how about a group commentary with the gang cracking each other up?
A drifter, later to be known as The Man With No Name (Clint Eastwood), is born in director Sergio Leone’s Spaghetti Western, A FISTFUL OF DOLLARS. The stranger arrives in a small Mexican village that is over run by two competing gangs who control the guns and the liquor. The only legit business that seems to prosper is the old coffin maker. The anonymous drifter decides to make money by working both sides of the gang as a hired killer, adding more fuel to the hatred feud between the two families.
Clearly, this is a small budget film with a limited production. The dubbing is poor, story continuity is a little off and I hope this doesn’t sound racist but I had trouble, keeping track who was who. Eastwood’s character would jump between the gangster lord’s houses; I had no idea what henchmen belonged to whom. First he would be at Ramon Rojo’s camp then the next minute at John Baxter’s camp. Many of the night time scenes appeared to be filmed during the day and time and distance were inconsistent.
With that said, the important thing is we always knew who our anti-hero was and we always knew who the lead villains were. Leone makes up the lack of order and production with great camera work, music and casting. This is definitely the director’s film. Give the same story and money to someone else and this film would fail to be remembered. It’s not quite there yet but you see great brilliance and style in this early work of Sergio Leone. His extreme close ups and interesting angles from the feet and pistols creates a tension and brings a higher quality level of excitement for a film obviously thought to be forgettable on paper. It doesn’t hurt that he hired Ennio Morrocone to fill in the memorable energy-generating score.
One of the most fascinating aspects of the film is that our hero isn’t really a good guy. He watches evil happen and then only seems to kill the villains for his own profitable gain. Eastwood is the other key ingredient with the charismatic quiet strength that keeps you rooting regardless of his actions or motives.
BLU-RAY REVIEW
Video: (2.35:1 Widescreen) This is a terrific transfer quality especially after seeing some of the original footage.
Audio: (5.1 DTS-HD) As I said before the film is poorly dubbed. The sound of the words does not sync up with the movements of the mouths. But the music and sound affects come in nicely.
The Christopher Frayling Archives: Fistful of Dollars (18:40): An expert goes over all the different posters and marketing for the film covering all nations and explains how the film was based on Akira Kurosawa’s YOJIMBO. This is quite a fascinating piece. Some of the posters and artwork are excellent but don’t necessarily capture the movie nor even contain pre-superstar Clint Eastwood.
Commentary by Noted Film Historian- Sir Christopher Frayling: I wish all films had commentaries by film experts. Frayling discusses the film as an extremely intelligent fan giving many technical and historical tidbits.
A New Kind of Hero (22:54): This is also by film historian Christopher Frayling who was also the biographer for Sergio Leone. He talks about the influence of the character on action heroes and how the character came to be and what Eastwood brought to the table. He also speaks about the close up shots and why the movie was poorly dubbed or synched up. This is an extremely fascinating look at the film. Find out who originally was meant to be the man with no name.
A few weeks in Spain: Clint Eastwood On the Experience of Making the Film (8:42): An excellent 2003 interview with Eastwood discussing the low budget production of the film and his experience. .
Tre Voci: Fistful of Dollars (11:12): Translated to “Three Voices,” these are interviews with producer Alberto Grimaldi, screenwriter Sergio Donati and Actor Mickey Knox who all discuss working with Sergio Leone
Not Ready For Primetime: Renowned Filmmaker Monte Hellman Discusses the Television Broadcast of a Fistful Of Dollars (6:20): An explanation about the making of an additional scene to help create the illusion that the man with no name actually has a cause in what he is doing rather than being a villainous hero.
The Network Prologue – With Harry Dean Stanton (7:44): A short intro from the fan who owns this rare piece of footage that this added made for TV scene comes from. The scene is very poorly constructed with a stand in double far too short to be Eastwood. It is very funny yet interesting to see how the network forced this scene to be created which was only aired one time.
Location Comparison: Then to Now (5:22):
10 Radio Spots: All basically the same short variations of radio ads.
Double Bill Trailer: This is a trailer for both A FISTFUL OF DOLLARS and A FEW DOLLARS MORE as a double-header movie experience.
Fistful of Dollars Trailer: Its always interesting to see how a film is advertised and what scenes they chose to show in the trailer.
I’ve found that come Oscar season, whenever the first thing you hear about a film is that it features an amazing performance from its lead actor or actress, chances are going to be good that the movie is going to lack in other areas. Such is the case with A SINGLE MAN, where Colin Firth shines as the grief-stricken lover and delivers a career-best performance. Unfortunately, the rest of the film lacked the necessary substance to engage the audience in any significant manner and at the end of the film, we’re left with a great performance a bit of an empty film.
Colin Firth is George, a professor at a local university that is now eight months removed from dealing with the death of his longtime lover, Jim. Typically in film, when we reach characters that experience a devastating loss, we follow them as they try to deal with the grief, whether it be to a positive or negative outcome. But with A SINGLE MAN, George has already dealt with the grief and has decided he can’t take it. We pick up with him on what he has determined is his last day because at the end of the evening, he presumably is going to take his own life.
As he goes about his day, he meets Kenny (Nicholas Hoult), a young student of his that is stricken with the older George. He also has an evening with Charley (Julianne Moore), an old friend of his from London that lives near by. But it’s the relationship with Kenny that breathes life into George and that will hopefully give him the motivation he needs to continue living. Moore is her usual wonderful self as Charley, but the relationship is relatively meaningless and teeters on that off-putting ‘Will and Grace’ style of friendship where she tries to seduce George despite his clear affinity for men.
First time director Tom Ford proves that he can do more than design a sharp looking suit and he adds plenty of stylistic scenes to liven up the film. He has a tough job as the entire movie is a depressing look into one man’s hopelessness. But he inserted some nice editing and some innovative use of colors and film types to heighten the moods and give George, and the audience, hope that everything is not loss. The downfall of the film is the fact that nothing really happens to George. He goes through his day and engages in conversations and meets some new people, but he doesn’t actually do anything. That leaves some dry spells in the film, which makes it drag at times.
It was refreshing to watch a film with a homosexual lead not address the homosexuality or make it the predominant theme of the film. Too often a gay character’s focus is on his sexuality and not the other emotions he may be dealing with. But this film is about a man dealing with the loss of his life love and his homosexuality is not a focus for the film. This isn’t a mainstream film and it definitely won’t appeal to everyone, but gay or straight, the pain George deals with and the emptiness he feels is something that anyone who has lost someone they love can relate to.
BLU-RAY REVIEW
Video: The first time Tom Ford changed the color palette of the film, I thought my projector was acting up on me. But I noticed that Ford would change the colors of the film to match whatever mood he was going for. The result was not only innovative, but it was displayed perfectly with this Blu-ray release.
Audio: The audio was also wonderful.
Commentary with Tom Ford: At times I got the feeling that Tom Ford was reading from a note card, but then he settles down and gets comfortable with the commentary. He has too many dry spells, but when he does talk, he gives great details about the film and I found him really interesting to listen to. The track could have used someone for him to play off of, just to keep it rolling, but it’s still a really good listen.
The Making of A Single Man (16:08): Even the making-of featurette is filmed in a stylish manner. We have too many movie clips to make it fully enjoyable, but everyone shows up to talk about the film and what it meant. I liked hearing from Tom Ford, but no one else offered anything I didn’t already know.
PERCY JACKSON AND THE OLYMPIANS: THE LIGHTNING THIEF marks Chris Columbus’s second attempt to turn a series of famous young adult novels into a series of famous movies. But unlike Harry Potter, I’m afraid the source material for Percy Jackson just isn’t good enough to make a quality film. So without friends we care about or characters we can relate to, Percy Jackson turned out to be a movie high on special effects and not much else.
Logan Lerman is Percy Jackson, a struggling student that suffers from dyslexia and ADHD, but also happens to be the son of the Greek God Poseidon. He discovers this nifty fact when a fury (demonic, flying beast) attacks him on a field trip. It seems our hero has been accused of stealing Zeus’s lightning bolt, which sets of a series of events, including the kidnapping of Percy’s mother, in which Percy must clear his name. He’s accompanied on his quest by his faithful protector Grover (Brandon T. Jackson) and a love-stricken Annabeth (Alexandra Daddario).
In a fantastical quest such as this, it’s imperative that the audience relate to the lead characters. Unfortunately, it’s hard to do that since we barely get to know Percy Jackson, Grover or Annabeth and they’re never really in a situation that we care about. I hate to draw comparisons to Harry Potter, but one thing Potter has that Percy does not is friends we like and root for. It’s easy to get caught up in the special effects and the grandness of this film, but at the end of the day, I never cared about any of their plights. In fact, Percy was forced to find the lightning and return it by a certain time in order to prevent a galactic war of the Gods. But a part of me was kind of hoping to see that story rather than the one I was watching. Seeing Zeus and Poseidon battle it out seems more exciting than watching Logan Lerman whine his way through this film.
Any time you deal with Greek mythology, you have your world cut out for you. It’s so tough to combine the fantastical world of the Greek Gods with the normal world we live in today. Doing so without sticking to a set of rules (whatever they may be) will leave the audience questioning the film and the breaking of those rules does nothing but pull the audience out of the moment. Columbus didn’t spend enough time establishing his world and laying down the guidelines. I still don’t fully know what Percy can and can’t do, nor do I understand how he learned how to use any of his powers in four days. And does everyone in this world have superhuman strength? Whatever the decision, it’s fine; you just have to set those guidelines at some point in the film.
Even with the b-grade dialogue and poor character development, Percy Jackson did have some nifty special effects and fun action sequences to keep the film rolling. I can assume younger audiences will easily be able to look past the film’s faults and enjoy the fun ride that Columbus has crafted for us. But for the rest of us, the film had too many problems and the overall lazy effort of the screenwriters made for an empty film.
BLU-RAY REVIEW
Video: For their new movies, Fox usually delivers top-notch video transfers, but I found this one to be a little soft, especially during the darker scenes. This is noticeable early on in the film, but whenever the special effects came in, it was obvious.
Audio: Whatever problems the video had, the audio definitely erased. This is an incredible DTS-HD transfer that will rattle your walls.
Deleted Scenes (8:01)-If you are a fan of the books, these deleted scenes will be interesting to watch. However, they don’t really add anything to the overall advancement of the story so it was good that they were eventually cut. Although, when watching these scenes, you will have to endure a terrible CGI dance sequence with Grover which was thankfully deleted from the final cut of the film.
The Book Comes to Life (4:24)-This is a short little featurette with interviews from the cast , director and author of the books. Unfortunately, it is riddled with scenes from the movies. The good part is that we get to hear from Rick Riordan (the author of the series) about his journey writing the book. Since it is so short, it’s worth the watch if you are a fan of the film or book series.
Secrets of the Gods-This is an interactive menu where viewers can get a small blurb about the various gods of Greek mythology.
Inside Camp Half-Blood (5:09)- A featurette about Camp Half-Blood, the home of the demi-gods. There are the typical cast and crew interviews with movie scenes but also some behind the scenes of the training the cast went through. This was okay to watch, it is more behind the scenes as opposed to just movie clips but nothing exciting is really going on.
On Set with Brandon T. Jackson (5:56)- Why we would have a separate featurette about a supporting character is beyond me, but here it is. Jackson plays the satyr Grover in the film and although he’s good in the movie, he sure doesn’t deserve his own feature.
Meet the Demigods (3:49)-You would think that this was a quick rundown of who’s who in the Percy Jackson world, but this is really just a quick recap of the story with just a little bit more information about each of the characters. This was nothing more than a puff piece.
Composing for the Gods: A Conversation with Christophe Beck (3:28):I’m not sure the score was memorable enough to deserve a whole feature, but here it is. It is short and interesting and worth the watch if you are into music.
Maybe its blasphemy to say I didn’t enjoy HISTORY OF THE WORLD: PART I because I know how funny people consider the humor of Mel Brooks. Don’t get me wrong, I really like a handful of his films and everyone seems to have different favorites. Unfortunately this is not one of mine.
Mel Brooks runs through a small gauntlet of historical moments in the world. Narrated by the great Orson Welles, we start off with the beginning of man from apes to cavemen. We get a few instructions on how the first creation of art begat the first art critic and pain begat singing. A little too much time is spent during the Roman Empire with sprinkles of biblical times thrown in, followed up by a musical number of the Spanish Inquisition. The film ends with an uninspiring sexually charged time in the French Revolution.
When Mel Brooks makes a film he definitely pushes the envelope. In today’s time that envelope is pretty much non-existent and the humor feels a bit sophomoric. It is funny that he gets away with so many overt sexual jokes, which I did appreciate, but more for the shock value from an older film. The real shame is holding back during the biblical times which was by far the funniest moments, but unfortunately the shortest.
I think the main problem is that everyone remembers some key lines like the overrated “It’s good to be the King” and they think the entire film is funny. All the best scenes can be summed up in a short trailer, which is exactly what is shown when advertising the film. This is a classic case where the best stuff is shown in the trailer and has burned its images into people’s memory. As short comedic skits the film works but as a whole it drags with no clear direction and a definite lack of energy in pacing.
I want to be clear that I respect Mel Brooks and find him to be clever and funny. But not all his jokes work and not all his films work. For every ten jokes he might only have one land. I know people love Mel Brooks and I’m sure this will be great for their collection. My dad belly laughed more than a few times but that was after he had fallen asleep and woken back up during the course of the film.
There are a lot of jokes with a few that are extremely funny and have found their marks in film history. But those moments are so few and surrounded with such boring dread that I can’t in good conscience say I enjoyed HISTORY OF THE WORLD: PART I. I’m sure I sound like the caveman critic peeing on the first creation of art but I don’t really need to watch the film ever again.
BLU-RAY REVIEW
Video: (2.35:1 Widescreen) The picture was very clear for a film made in 1981
Audio: (5.1 DTS-HD) The audio is definitely lacking which directly affects the enjoyment of the film. Many moments are too quiet or unclear to keep the pacing and energy up.
Musical Mel: Inventing “The Inquisition” (10:38): This talks about Mel Brooks talents as a comedic songwriter and how he incorporates them into his film. It particularly covers the making of “The Inquisition” song and dance segment.
Making History: Mel Brooks on Creating the World (10:04): This covers the origins and retrospect of the film and how Mel came up with the idea.
The Real History of the World Trivia Track: Pop up information some pertaining to the film, history or randomness while the movie plays
Isolated Score Track: A completely unnecessary feature that only plays the music while watching the film.
From the moment Robert Pattinson was cast in the lead role, REMEMBER ME was going to be known as the movie in which he tried to break out of his Twilight mold. Millions of fans around the world were anxious to see if Bob Patty could capitalize on his Twilight fame and establish himself as a real movie star. This makes his decision to do this type of role all the more puzzling as the best way to describe his character is that of a non-sparkly Edward Cullen. REMEMBER ME is overly sappy and tends to drag scenes out, just to make sure the audience knows how much pain the characters are in.
Robert Pattinson is Tyler Hawkins, a young New York college student that can’t seem to get past his brother’s suicide. He takes his anger out on everyone around him, most notably his lawyer father. After a scuffle and a run-in with a grumpy detective, his roommate decides the best revenge is to get Tyler to date the detective’s daughter, Ally (Emilie De Ravin). Of course, as we all know, any time a relationship is founded on a lie, one party is bound to find out about it and thus force the other party to prove their love. This is no different, although the ending does take an unexpected and questionable turn. The one thing about the ending that I can say is when you make that subject matter part of your movie, it tends to overshadow everything else you do. I will also say that the ending was horrible and it’s a crime no one spoke up during the editing process.
Most fans of the film seem to be Rob-sessed fans of Robert Pattinson. That makes sense because in order to enjoy this film, you have to enjoy his screen presence, which I feel needs some work. He has the talent, he just doesn’t know what to do with it. He spends the entire movie bruiting about and staring off in the distance to the point I found myself shouting “make eye contact!” But in his defense, we needed more back-story from him and it would have been nice that rather than opening on Ally as a child, we opened on Tyler as a child so we can set up his character. Ally’s tragedy could have been told by Emilie De Ravin or shown in a quick flashback. Establishing her character early on was unnecessary as the film relied heavily on Tyler’s past, not hers. I did like the board room showdown between Tyler and his father, and it made me feel their relationship should have been explored deeper.
I can’t understand the obsession with Pattinson, but I think obsessed fans of his will appreciate this effort, only because he has so much screen time. The story felt forced and I couldn’t buy into the extreme mental anguish Tyler was feeling, but once I realized Tyler wasn’t going to smile, I settled into the film and it was fine. I don’t think this is the film that will change any naysayer’s opinion of Pattinson, but at least he didn’t sparkle this time.
BLU-RAY REVIEW
Video: The film looked pretty nice and although I’ve been hard on Summit in the past, the majority of this transfer looked sharp.
Audio: This is a very simple audio mix, but the DTS-HD mix sounded great. We didn’t need much from it, but the audio was crystal clear.
Commentary with Robert Pattinson, Emilie De Ravin, Ruby Jenkins and Nicholas Osborne: This commentary is more lighthearted, but again, it features a lot of Robert Pattinson. They really don’t have much to say, but they do what they can and offer enough fun tidbits to make non Twi-hards interested.
Commentary with Allen Coulter: His commentary is more straight forward and he focuses on the making of the film and the technical aspects. It’s a typical director commentary.
I waited for chapter 17 to hear what everyone had to say about the ending and everyone loved it, especially Allen Coulter, who went on and on about the characters and their reactions to the ending. I was hoping at least one of them would say something negative about it, but alas, it didn’t happen.
Making of Remember Me (14:32): This is just a typical making of featurette with everyone, including Robert Pattinson, chiming in on how great the film is and how much they enjoyed making it.
Paramount Home Entertainment has announced the film STARDUST, starring Claire Danes, Robert De Niro and Michelle Pfeiffer, will be available on Blu-ray September 7, 2010. The fantasy/adventure film follows Yvaine (Danes) a fallen star who is pursued by a young man who wants to capture her for his love interest and a witch (Pfeiffer) who wants her heart to gain eternal youth. The film is based on the novel of the same name by Neil Gaiman. STARDUST came out right around the same time as THE GOLDEN COMPASS, and although both were good, STARDUST was far superior in my opinion because of the story and performances. The special features included are:
Sony Pictures Home Entertainment has announced that the comedy THE BACK-UP PLAN, starring Jennifer Lopez and new comer Alex O’Loughlin, will be released on Blu-ray August 24, 2010. The film follows a woman who decides to have a baby despite not being in a relationship, only to find Mr. Right the same day she becomes artificially inseminated. Personally, I think the plot sounds boring with jokes that are going to be too obvious, but I suppose I could be wrong since Ms. Lopez has appeared in personal cinema favorites of mine like ANACONDA. Unfortunately, I don’t see a 20-foot snake anywhere in the previews of THE BACK-UP PLAN, so I don’t have high hopes. There’s a short list of special features included:
Warner Home Video has announced that the classic horror film, THE EXORCIST, will be released on October 5, 2010. The release will have a two-disc Digibook edition along with a 40-page booklet about the film. Both the theatrical release and the extended director’s cut of the film will be included in the edition, both of which have been remastered from the original camera negative. I’ve never seen THE EXORCIST, nor have any intention to, but if I did want to be scared to death on a regular basis, I’d be very happy adding this edition to my collection. Special features for this release include:
Disc 1: – Extended Director’s Cut (2000) plus Special Features
Raising Hell: Filming the Exorcist – set footage produced and photographed by Owen Roizman, camera and makeup tests, and interviews with director William Friedkin, actress Linda Blair, author/screenwriter/producer William Peter Blatty and Owen Roizman (new; Blu-ray exclusive)
Faces of Evil: The Different Versions of The Exorcist – with director William Friedkin and author/screenwriter/producer William Peter Blatty discussing the different versions of the film and featuring outtakes from the film (new; Blu-ray exclusive)
Commentary by William Friedkin
The Exorcist Locations: Georgetown Then and Now – Featuring a tour of the iconic locations where the film was shot (new; Blu-ray exclusive)
Trailers, TV spots & radio spots from the film’s 2000 release
Disc 2 – Theatrical Cut (1973) plus Special Features
Introduction by William Friedkin
Additional interviews with William Friedkin and William Peter Blatty:
The Original Cut
Stairway to Heaven
The Final Reckoning
The Fear of God: 25 Years of The Exorcist [1998 BBC documentary]
Commentaries:
William Friedkin
William Peter Blatty with Special Sound Effects Tests
Summit Entertainment will be releasing the family film FURRY VENGEANCE, starring Brendan Fraser and Brooke Shields, on August 17, 2010. The film follows a real estate developer who has a tough time building his new subdivision due to the furry woodland creatures who are out to destroy his plan and save their homes. Yes, this really is the plot and yes Brendan Fraser really took on this role. This film came and went through the theaters fairly quickly and didn’t receive a lot of fanfare. However, FURRY VENGEANCE will be released in a Blu-ray/DVD combo pack with a list of special features that include:
Sony Pictures Home Entertainment announced the film DEATH AT A FUNERAL, starring Chris Rock, Martin Lawrence, James Marsden and Zoe Saldana, will be released on August 10, 2010. This film is a remake of the 2007 British film of the same name which I assume was good enough to be remade, but sadly this version didn’t do as well as one would expect even with the all-star comedic cast that was involved. The film follows a family that gets together for a funeral and during the ceremony family secrets are exposed and exploited. The Blu-ray will have a list of special features that include:
Death at a Funeral: Last Rites, Dark Secrets
Commentary with director Neil LaBute and Chris Rock
Nick Twisp (Michael Cera) is a 16-year-old boy whose mind is on one singular track to lose his virginity. Unfortunately, Nick does not have a reputation with the ladies and is surrounded by people making whoopee, including his white trash mom (Jean Smart) with her sloppy lying boyfriend Jerry (Zack Galifiankis) and Nick’s financially challenged dad (Steve Buscemi) with his 23-year-old girlfriend. Nick comes from normal dysfunction for today’s world but his life begins to look up when he meets his dream girl in Sheeni Saunders (Portia Doubleday). She loves the French and has a vocabulary just as extensive as Nick’s. She’s pretty and seems to like him so she’s perfect. Sadly, Sheeni, although not completely committed, has a boyfriend of her own named Trent. Nick creates an alter ego, who will do all the bad and aggressiveness it takes to keep Sheeni away from Trent and close to Nick. Whether it be spreading lies, getting her kicked out of school or blowing up a vehicle, Nick has no limits in what he will do to lose his virginity to the girl he loves.
Michael Cera has been criticized for playing the same character over and over but I would challenge the fact that he’s in comedies for that very reason. Chris Farley didn’t change things up much but we always found him hilarious. The fact is Cera plays the unsure, nervous well-spoken nerdy teen to perfection. Every line he speaks seems to be unrehearsed and natural. Cera plays that character well again in YOUTH IN REVOLT. However, this time around he has an alter ego, Francois Dillinger, which is pretty much his exact opposite. Cera still provides his quiet voice but with a confidence-filled ego while wearing a thinly grown mustache, with tightly fit dress clothes smoking French cigarettes. As comedy actors go, this is a stretch and Cera pulls it off with a cocky sweetness.
Along with Michael Cera and the previously mentioned actors Fred Willard, Justin Long, Ray Liotta and Adhir Kalyan also provide some funny moments with minimal screen time. The all-star cast really helps round out the comedy but make no mistake this is Cera’s vehicle. He has a charm that makes you overlook his villainous actions.
YOUTH IN REVOLT cleverly gets into the mind of the teenage boy and exploits all his desires and shortcomings. The film uses a variety of animations to portray Nick’s thoughts and actions which isn’t necessary but does convey a certain fun, adolescence to the film to keep things moving and helps set the light-hearted tone.
BLU-RAY REVIEW
Video: The picture looks great especially with the animated sequences. Lots of bright colors to give the young summery feel to the film.
Audio: The sound quality was decent but didn’t call for anything to spectacular.
Commentary with Miguel Arteta and Michael Cera: The two joke and laugh about the making of the film. It’s not too technical or even interesting but the two are likeable enough while they amuse themselves to make the commentary mildly amusing to the audience…sometimes.
Deleted Scenes (10:43): Nine deleted scenes that do contain a few funny moments but I’m sure were cut for time issues or making our lead seem too unlikable.
Off-the-Chain Deleted and Extended Animated Sequences (7:11): A few of these show up on the deleted scenes but this is exactly what is says a little extensions of the animated scenes which are mildly amusing.
Audition Footage (8:32): These are short audition videos for the following actors: Portia Doubleday as Sheeni Saunders, Zach Galifianakis as Jerry, Erik Knudsen as Lefty, Jonathan B. Wright as Trent, Adhir Kalyan as Vijay Joshi – all are pretty lame.
The official tagline for WHEN IN ROME is, “All is fair in love and Rome”, and well it’s not. In fact, there are a lot of things that aren’t fair about this movie. The good thing is that I had no expectations when I went into this so I wasn’t horribly disappointed. Sadly, it performs under the standard of a usual rom-com. The only save is a few funnies here and there, Kristen Bell, and the fact that Anjelica Huston found it worthy enough to take a small part.
Our story is centered on the young and talented art curator, Beth (Kristen Bell). When her little sister shows up on her doorstep to tell her she’s marrying a man she has only known for two weeks, Beth’s skepticism immediately kicks in. Reluctant of the odds they’ll stay together, she heads off to Rome to be in her baby sister’s wedding.
When she arrives, Beth is consumed with work. Rome doesn’t seem to provide or aid in any hope that true love will be found. During the reception she embarrasses herself until the best man, Nick (Josh Duhamel) saves her from furthering her humiliation. The two immediately hit it off and when Beth goes to make a grand romantic gesture, she sees Nick kissing another woman. In turn, Beth gets drunk and curses the Fontana de Amore (Fountain of Love). The fountain holds the coins of people who believe that it will bring them true love one day. Beth saves five suitors by plucking their coins out of the fountain.
When she gets back home, the coins have caused her a bit of pain. The five men (Will Arnett, Jon Heder, Danny Devito, Dax Shepard, and Duhamel) attached to those coins are desperately in love with her. This love borders on obsession when the guys start to effect her personal and work life. Beth must find a way to get the guys off her back, but find what real love is in the process.
When I said this movie wasn’t fair, I meant it. It’s not fair that Kristen Bell’s talents aren’t used to their fullest potential. For any of you who have seen the girl in REEFER MADNESS, you know there’s potential there. I never got into Veronica Mars, but there was a reason the show had a huge following. Bell also has great chemistry with Duhamel throughout the film. To be honest with you, Duhamel never came across as an actor that stood out amongst the others. In this film though, he came across a slightly charming.
When you get down to it, the actors aren’t the problem. The cast would lead you to believe that this movie is going to be something entertaining. However, mediocre dialogue screws it up. Most of the funny bits are due to more physical comedy and the personas that the male suitors take on are just terrible. Out of Devito, Shepard, Heder, and Arnett you think one of them will be remotely funny—this never happens. If they were given opportunity to improvise more there might have been more to laugh at, but their performances are all phoned in. Not even two of my favorite female oddballs, Kristen Schaal and Kate Micucci could make me feel any better about the crap script.
As for the romantic aspect of it since this is a romantic comedy, it never really does anything for me. There were moments where Bell and Duhamel had me then I got lost in the sea of terrible dialogue again. It also didn’t help that the soundtrack was off the charms annoying. I don’t even think that a Justin Bieber fan would be into these songs. The only one that caught my ear was a cover of Bob Dylan’s “Make You Feel My Love”.
Overall the movie was just one of those brain off popcorn chick flicks. I think that the director, Mark Stephen Johnson was a bit rusty when it came to doing a lighthearted film again. His first film, SIMON BIRCH was a wonderful tearjerker, but this movie had no hold on my emotions. In my humble opinion, it all came down to a lackluster script. What boggles my mind even more is the fact that there were two writers involved in the screenplay, David Diamond & David Weissman. Why didn’t one of them just say, “Hey, this isn’t so great”. Instead they offered to hand us a film that doesn’t even do justice to the actors and actresses involved. Instead of falling in love, I think this one scared me away from it. Maybe one day I’ll watch it again, but I wouldn’t count on it.
BLU-RAY REVIEW
Video: Great quality. The colors were bold, certainly not a bad thing. No complaints here. (2.35:1 Widescreen).
Audio: Everything was as clear as a bell on this one. No pun intended. The music offers some cheesy chick flick stuff that you would expect. Personally, not my cup of tea. (5.1 DTS-HD).
Alternate Opening & Ending (7:00) There is a reason that these are the alternates. This is not a great start to the bonus features.
Crazy Casanovas: Mischief from the Set (12:00): This is the only part I really was interested in. Mostly just to see Kristen Bell being adorable. You’ll get some background on the film, cast, and crew on this feature.
Extended Pain With the Suitors (2:00): The suitors act as their own exhibits. Didn’t really do anything for me.
Kerplunk!: Bloopers from Rome (3:00): Bloopers are usually supposed to be funny…these aren’t. Sort of a disappointment.
Deleted Scenes (7:00): A collection of deleted scenes that obviously should not have been used in the film.
Music Videos: “Starstrukk” by 3OH!3 featuring Katy Perry & “Stupid Love Letter” by Friday Night Boys (7:00): Unless you are a die-hard Katy Perry lover, or enjoy the torturous sounds of today’s excuse for what passes as music then I’d suggest skipping this entirely.
“Craziest Thing You’ve Ever Done for Love?” (0:56): Little easter egg that’s right under the last bonus feature. They just asked a few members of the cast that question. It’s cute, but could have done without it.
Warner Home Video has announced the film THREE KINGS, starring George Clooney, Mark Wahlberg and Ice Cube, will be released on Blu-ray October 12, 2010. The 1999 film follows four soldiers in Iraq towards the end of the Gulf War who go on a hunt to find a stash of gold that is supposedly hidden by their base. Along the way they must make the decision to continue on their search for their treasure or help the Iraqi civilians who are being prosecuted by their own countries army. The film hit such a nerve at the time that it has been banned in Iraq.
The Blu-ray has a list of special features that include:
Featurette: Under the Bunker: On the Set of Three Kings
An Intimate Look inside the Acting Process with Ice Cube
Audio commentaries:
Writer/director David O. Russell
Producers Charles Roven and Edward L. McDonnell
Tour of the Iraqi village set with production designer Catherine Hardwicke
Interview with director of photography Newton Thomas Sigel
I am a big fan of most faith bound, destiny films, which consequently makes me a big fan of most post-apocalyptic films. THE BOOK OF ELI delivers on both accounts combining a stunning visual of destruction with an interesting concept dealing with humanity and hope.
Eli (Denzel Washington) is a man surviving alone on a mission to protect the last King James Bible and bring it to his foretold destination. Along the way he must fight against the evil and opposition of the post-apocalyptic world, scarce of food and water. Specifically Carnegie (Gary Oldman) who is a kindred educated man, whom there are very few in this younger generation, chaos-driven world. Carnegie is searching for the same Holy Book and willing to sacrifice and use any means necessary to obtain the literature. He understands the power of faith and wants to use and manipulate it for evil.
The cinematography is exquisite with a wonderful color pallet that transforms an ugly world into a visual beauty. The opening scene finds a suited man patiently hunting an undernourished cat in an ash-filled forest, but the thought of this gruesome act is captured in gorgeous camera work that really sets the tone for the rest of the picture. There are three main action sequences that are beautifully choreographed and filmed in one extended take. Every shot seemed very deliberate and well prepared so I believe the film makers achieved their goal, however, I would challenge that they spent too much time breathing in the desolate landscape. The film was poorly paced seeming to drag a bit with gaps missing some much needed action. The audience is introduced early and quickly to Eli’s impressive weaponry and skills as a fighter, which is never fully revisited again.
The performances by both Washington and Oldman are naturally great. They consistently give a believability and weight to all their roles and here is no different. Washington as Eli has a cold mysterious demeanor that commands respect and breathes wisdom. Oldman as Carnegie provides logical understanding with a controlled psychoticness. THE BOOK OF ELI entertains while giving a moving message about the importance and power of faith, along with the characteristics and choices of human nature. The ending has a slightly questionable twist but overall delivers an interesting and beautiful film.
BLU-RAY REVIEW
Video: The look of the film is magnificent and thrives with a practically flawless transfer. This is a film perfect for what Blu-ray can do.
Audio: The sound is just as good as the visual…stunning.
WB Maximum Movie Mode: A picture in picture commentary-esque feature that can be played during the film. It’s mostly comprised of clips from later features but also with some comparisons with the beautifully done storyboards.
Focus Points (34:24): A compilation of ten mini featurettes. These were all short and very interesting covering the look, story and action of the film.
Starting Over (13:03): The filmmakers and actors discuss and explore what would happen as far as people’s reactions, feelings and wants and needs during a post apocalyptic world.
Eli’s Journey (17:54): The filmmakers and actors discuss the character of Eli and Denzel’s performance. They also discuss his faith and mission from God. They also discuss Oldman’s character and belief and knowledge for evil.
The Book of Eli Soundtrack (4:59): Basically a small discussion about the music and collaboration with the composer
Deleted/Alternate Scenes: Four extremely short scenes, which did not make any difference to the film. I was really hoping for more here.
A Lost Tale: Billy (5:02): A short moving picture graphic novel about the origins of our villain during his childhood
Despite suffering a devastating leg injury (the bone protruding kind) at the hands of Michael Jai White at the end of UNDISPUTED 2, Uri Boyka is once again ready to put his life on the line in the underground fighting syndicate. This time around eight lethal fighters from various maximum security prisons around the world will fight not only for the glory of being champion but freedom as well. Of course, the bad news is that the organizers are just looking for a multimillion dollar payoff and have no intentions of giving the winner anything other than a bullet.
I’ve been an avid fan of martial arts flicks since I discovered Loren Avedon and KING OF THE KICKBOXERS back when I was first coming into movies. I had the distinct pleasure of talking back and forth with Mr. Avedon (he’s a super cool guy) and it was he who actually told me about UNDISPUTED 2 while talking about life and movies. I immediately watched it and loved every second of it. Scott Adkins and Michael Jai White are phenomenal athletes who can do superhuman things in the ring. I was very excited to hear they were going ahead with a third film and I was not disappointed in the least. The fight sequences were just as stellar as the second (if not more so) and again it just blows me away seeing what these guys can do.
The only sad part here is how few and far between these martial arts epics have become and that they still have to get by on the direct to DVD market. Don’t get me wrong, the production value here is top notch, so I can only imagine how much better it could have been with a bigger budget. Michael Jai White’s BLOOD AND BONE was the same way but like the UNDISPUTED films could have blown the roofs off theatres with a little more money and finesse. Instead, we end up with farces like FIGHTING in theatres which is nothing short of an insult. But on the opposite side of things, Larnell Stovall, the dude behind UNDISPUTED 3’s amazing fight choreography, was also in league with the MORTAL KOMBAT: REBIRTH short film now online starring Michael Jai White and a few others. If you’re reading this review you clearly dig martial arts as much as I do so you owe it to yourself to look up the MK video after this. Trust me, you’ll be glad you did.
Scott Adkins is working hard to get THAT break and though he did pop up in the underrated X-MEN ORIGINS WOLVERINE (I have no idea why I’m the only one who loved that film) as Weapon X1, played a small role in THE TOURNAMENT and landed the lead in NINJA, he’s still not there yet. Adkins doesn’t get much in the way of lines in either UNDISPUTED film and his dialogue in NINJA was somewhat cheesetacular (though I won’t blame him for that as it WAS a ninja film and the entire script emanated a cheesy eighties vibe) so the man is clearly doing the best with what he’s got to work with. But let me tell you, physically he’s far superior to just about any other martial artist in the business (with the exception of Michael Jai White, though he’s just about on par) with incredible speed and moves. I’m rooting for you Scott and I hope you get the break you deserve soon.
UNDISPUTED 3 is everything you could want in an epic martial arts extravaganza. The fights are brutally impressive, the choreography is shot with a distinct edge of intensity that had my adrenaline going into overdrive and the story was great considering the limitations of where the series can go. I’m happy to see that Adkins is steadily getting more roles, and I wouldn’t be overly bothered by seeing him in an UNDISPUTED 4. That said, he deserves better than the straight to DVD market and I hope people are starting to get that. My advice, give him and Michael Jai White a feature film together and watch guys like me flood to the theatre by the truckload.
BLU-RAY REVIEW
Video: 1.78:1 Widescreen in 1080p HD with AVC codec. This thing was shot extremely well for direct to DVD/Blu-ray fodder, I have no complaints on the visuals whatsoever.
Audio: 5.1 DTS-HD in English with English, French and Spanish subtitle options. Again, Adkins doesn’t say much, but it is enjoyable to hear him swear in that thick Russian accent.
This Blu-ray is pretty bare when it comes to extras, consisting of some a couple trailers, a Blu-ray commercial and a Digital Copy of the film but be that as it may, I still recommend it as a sound purchase.
20th Century Fox has announced the film DATE NIGHT, starring Tina Fey, Steve Carell, Mark Wahlberg, James Franco and Mila Kunis, will hit shelves in Blu-ray form on August 10, 2010. The film follows Carell and Fey as they embark on a night of adventure after taking another couples reservation at a swanky Manhattan restaurant. With a star studded cast like this, led by comedic gems like Carell and Fey, there’s no doubt you’ll want to add this to your personal media library.
DATE NIGHT will have a two-disc Blu-ray/DVD/Digital Copy combo pack that will include an extended edition of the film. The disc will also have special features that include:
Lionsgate Home Entertainment has announced that KICK-ASS, starring Chloe Moretz, Nicolas Cage and Aaron Johnson, will be released on Blu-ray August 3, 2010. The film follows a regular guy (Aaron Johnson) who decides to dress-up and take on crime vigilante-style. He soon becomes an internet sensation and inspires others to follow in the fight against crime. Although the film focuses mostly on Johnson’s character, it can be argued the real gem of the film is rising star Chloe Moretz. Look for her in the upcoming remake of LET THE RIGHT ONE IN, entitled LET ME IN, a vampire film minus the sparkle.
KICK-ASS will be offered in a DVD/Blu-ray/Digital Copy combo pack and offers quite a few special features which include:
Documentary: A New Kind of Superhero: The Making of Kick-Ass (BD-exclusive)
Featurette: It’s On! The Comic Book Origin of Kick-Ass
Audio commentary with writer-director Matthew Vaughn
Gallery: The Art of Kick-Ass
Ass-Kicking BonusView Mode: synchronous with the feature film, this multi-media presentation incorporates video and audio commentary, behind-the-scenes clips and illustrative graphics with co-writer/producer/director Matthew Vaughn, plus cast and crew providing an all-access perspective on Kick-Ass (BD-exclusive)
BD Touch and Metamenu Remote
Lionsgate Live™ enabled, featuring extra content for Internet-connected players
I actually own…I mean owned THE KARATE KID II action figures. You could push a button on their back and they would karate chop a board or ice depending on the accessory given. Admittedly, they were pretty lame but I enjoyed them. Which is a long way to say, I’m a fan of the film.
THE KARATE KID II is not quite as good as the original but as far as sequels go I am happy to say it is still thoroughly entertaining. The second film pulls off the difficult follow up task nicely by changing the location from California to Okinawa and upping the danger level. As mentor Mr. Miyagi (Pat Morita) warns Daniel LaRusso (Ralph Macchio), “This not tournament. This for real.” Basically summing up these aren’t just high school bullies any more Daniel-san. The film is riddled with other high level danger reminders as well, such as Daniel’s question, “How do you know who wins?” Miyagi’s response, “One who dead, doesn’t.“
The story picks up immediately following Daniel’s win at the tournament where Miyagi has a confrontation with the Cobra Kai coach John Kreese (Martin Kove). Along with Daniel, Mr. Miyagi flies back home to Okinawa to be with his dying father. While there, he unexpectedly is revisited by his past that he tried to flee from many years ago. His best friend Sato (Danny Kamekona) still wants revenge for Miyagi expressing his love to Sato’s soon to be arranged wife who never married. Daniel meets a new love of his own and gets an enemy in Chozen (Yuji Okumoto), Sato’s best student. How will the duo overcome these obstacles? Well a nicely placed storm might to do the trick.
The villains are ultra evil, recognizable by Sato’s delivery of every line as if he is constipated. Chozen has not an ounce of goodness to him, looking to beat and cheat everyone. This is classic good vs. evil, but don’t worry you can learn the difference between the two by this gem of a line by Sato, “I was wrong. Hate is wrong.”
Finally, what’s a KARATE KID movie without a signature move to be triumphant? Well sadly, The Drum technique is a little lackluster. Not quite the showiness as the Crane Kick but I doubt either would really work in a fight. The actually physicality of the final fight lacks a certain boom but the film makers make up for it by delivering some nice cheese factor moments with the audience using their little drum in unison and Daniels final “Live or Die” question.
THE KARATE KID II fires on all 80’s cheese filled fun cylinders with breathing techniques, ice chopping, groin punches, a dance sequence, air guitar, child saving and powerful emotional moments between our unlikely student and sensei. It’s even an Oscar nominated film courtesy to the song Glory of Love by Peter Cetera.
BLU-RAY REVIEW
Video: This was a bit of a bland transfer even for an older 80’s film. It’s not the best but it is an improvement.
Audio: The sound was efficient especially during all the strong base chords when ever anyone was struck.
“The Sequel” Featurette (6:18): Mostly clips from the film with a couple of comments on how it’s great to get everyone back together. As always, it’s shocking to hear Pat Morita in his normal very westernized American accent.
The Karate Kid is a movie about a boy that is duped into yard work by an old Japanese man who originally promises to teach him karate. Okay, so that’s only partially correct. It is however, a film that after 25 years still holds its charm.
Wax on…The Karate Kid is a great coming of age tale that holds a special place in your memory. Whether it was Mr. Miyagi’s (Pat Morita) pearls of wisdom, the slammin’ soundtrack, or quotes in general “There’s no fear in this dojo!” there’s always something about this film you will remember, probably for the rest of your life.
It all starts when Daniel Larusso (Ralph Macchio) moves from New Jersey to California because of his Mom’s new job. Sadly, the blonde masses immediately bully Daniel. When Daniel’s Mom says, “To me the whole world turned blonde” she’s spot on. Young Daniel-san’s enemy is blonde karate jerk, Johnny Lawrence (William Zabka) who spends the majority of the film along with his “extreme” buddies relentlessly bullying Daniel. The bullying began when Daniel caught the eye of the beautiful Ali (Elisabeth Shue). One moment he’s teaching her some sweet soccer tricks, next thing he knows he’s getting his butt kicked by defending her honor over a boombox.
Daniel is picked on and friendless because he’s viewed as a pansy by the rest of the school. His only friend is Ali, who he has a hot and cold relationship with. She’s the richy and he’s the boy from the wrong side of the tracks. After a bad accident caused by the Cobra Kai extreme karate team, Daniel is through with California and ready to go home.
Before he officially throws in the towel, Daniel finds an unusual friend in his apartments handyman, Mr. Miyagi (Morita). This is where the heart of the story lies. While the supporting cast ends up being lackluster, Macchio and Morita shine in the roles of their characters. Mr. Miyagi seems to calm Daniel down by doing nice things for him. When he figures out that Daniel is at constant odds with a bully skilled in karate, Miyagi takes him in and shows him everything he learned about karate himself. Did you also ever notice that Miyagi could have gone to jail like a million times in that movie? He was driving without a license, giving alcohol to a minor, and assaulting juveniles. Who cares? It was the 80’s and it was hilarious. Miyagi getting drunk has to be one of my favorite scenes.
Miyagi and Daniel’s relationship becomes one of mutual respect and teach each other valuable lessons. Morita’s performance is timeless and each line he delivers tends to be just as great as the last, “In Okinawa, belt mean no need rope to hold up pants”. Macchio’s Daniel could be any smart mouth kid you went to high school with, while he was a little overdramatic in some parts, it’s warranted. Daniel was struggling through the pains of being an awkward teenager and sometimes that comes with a bit of drama.
The Karate Kid is a classic underdog film that you cheer through. We’ve all been bullied at one point or another, and most of us wish that we had our own Miyagi to get us through. You know that you secretly sing, “You’re the best around” when you hear it play in the movie. This is because Karate Kid is one of the best around. Simple, yet effective. Wax off.
BLU-RAY REVIEW
Video: There are a few discrepancies in the video where it’s a tad grainy, but the transfer is actually pretty good. The video still contains a small hint of that 80’s flair. (1.85:1 Widescreen).
Audio: It’s a hell of a lot better than anything on VHS. Good quality with a great soundtrack. You won’t be disappointed. (5.1 DTS-HD).
Blu-Pop: If you’ve seen Karate Kid a million times, I highly suggest turning this option on before viewing. There are a lot of cool facts that pop up on the screen, and added commentary with Ralph Macchio and William Zabka. This is fun for people who are really into stuff like “Pop-Up Video”.
BD-Live: A portal that allows you access to trailers. Nothing to get too terribly excited over.
Commentary by John G. Avildsen, writer Robert Mark Kamen and actors Ralph Macchion and Pat Morita: Another special thing to turn on while viewing the film. Most commentary on DVD/Blu-ray can be rather tiresome, but this is one you’ll want to listen to. They discuss several different topics throughout the film: the relationships, shooting, stunts, and everything in between.
The Way of the Karate Kid (Part 1) (24:00): A “Behind-the-movie” of sorts that explains getting the film off the ground, casting, and production. There are many interviews and tons of never before seen footage that makes for an interesting watch.
The Way of the Karate Kid (Part 2) (21:25): Continuation of the first part. Gives more information on the stunt work side. More behind the scenes and interviews.
Beyond the Form (13:03): Pat E. Johnson, marital arts choreographer for the film goes into his experience, training of the actors, teachings of the martial arts, and what the film did for the karate world.
East Meets West: A Composer’s Notebook (8:17): Composer Bill Conti discusses the thought process of putting the music together for a film like, The Karate Kid. He explains how music is important to certain aspects like the emotion in the film.
Life of Bonsai (10:00): The featurettefocuses on Bonsai master, Ben Oki. He talks about his history with the planet and the benefit of owning a Bonsai.
DIRTY DANCING is a rare phenomenon where the stars just seemed to align themselves to shine brightly upon it. The mass public turned the film into a modern classic in it’s own right. Sure it’s no CITIZEN KANE but it definitely deserves recognition how it’s own sweet simplicity has ingrained itself into pop culture.
All the working parts seemed to be the right fit. From the music and dance to the costuming and production design, all helped the incredible performances that may have unwittingly delivered everything with a tongue-and-cheek sincerity. A lot of the credit may belong to the wonderfully fun-hearted script.
In the 1960’s, Frances Housman, known as Baby (Jennifer Gray), and her wealthy family decide to spend their summer at an uppity resort in upstate New York’s Catskill Mountains. Daddy’s little girl unexpectedly becomes infatuated with the free life style of the hired entertainment led by Johnny (Patrick Swayze) and his dance instructing crew. Baby gets herself more involved when she borrows money from her daddy to help one of the dancers, Penny (Cynthia Rhodes), pay for an illegal abortion. Now Baby must learn the steps to take her place as Johnny’s dance partner in an upcoming performance. During the process the two develop strong feelings for each other. Together their relationship must overcome their differences in family, class and lifestyle.
A lot of credit goes to the performance and chemistry between the two leads. Swayze definitely embodies Johnny with strength and bad boy charisma. He gives hope to all straight men not to be ashamed to dance like Gene Kelly. Gray is completely underrated as Baby. She charmingly pulls off a nearly impossible natural performance as a naïve, insecure girl transitioning to a confident young woman learning about love, life and dance.
From the opening scene with the black and white close up of the dirty dancing to the final post “Nobody puts baby in a corner” dance sequence, DIRTY DANCING is fully aware of itself following the music and dance through the eyes of a young woman. The lines are instantly quotable and the dramatic scenes, while a little corny, bring the audience into the moment. This film transcends quality and becomes it’s own entity for a generation.
BLU-RAY REVIEW
Video: I would have liked a more crisp transfer but the film still looked good. The colors come through nicely at the summer resort. This is a significant improvement over the first Blu-ray release of DIRTY DANCING.
Audio: The dance and music is a driving force to the film and it sounded great.
Commentary with Writer/Co-Producer Eleanor Bergstein: She gives very detailed information on the making of the film. It is clear that she is very passionate about the project.
Commentary with Kenny Ortega, Miranda Garrison, Jeff Jur, Hilary Rosenfield and David Champman: A combination of people who worked on the film including the production designer, cinematographer, choreographer and costume designer all chime in and give their perspectives.
Trivia Track: A pop up video commentary that I think will be highly enjoyably next time you watch the film.
Kellerman’s: Reliving the Locations of the Film (12:24): The first half is about the set design and art direction to make several locations feel like it was on one property. The second half is more of an advertisement for the Kellerman Ranch where people can stay and tour the place where DIRTY DANCING was filmed.
Dirty Dancing: The Phenomenon (13:43): This explains the beginning process of how the film came to be and how all the elements lined up perfectly to create the generational classic.
Dancing to the Music (16:32): An extremely fascinating look at all the famous songs from the film, how they came to be and their journey with the film, going number 1 and eventually even winning an Academy Award for “The Time of the Life.” If you are into the music this is very interesting.
The Rhythm of the Dancing (4:08): Patrick Swayze talks about being inspired to write ”She’s Like the Wind.”
Never-Before-Seen Photo Gallery: A photo gallery of several shots from the film
Tributes: In Memoriam (1:58) Remembering those who passed away including: Jack Weston, Max Cantor, Patrick Swayze, Emile Ardolina and Jerry Orbach with extended interviews with loved ones of the last three.
A Tribute to Patrick Swayze (15:15): 1952-2009
Emile Ardolina Tribute (13:28): 1943-1993
Tribute to Jerry Orbach (6:33): 1935-2004
Fan Reel (1:42): Pictures and home videos of people expressing their love for the film.
James and Julia Derbyshire: Dancing Across the Pond (4:34): An interview with a couple who became a YouTube sensation after reenacted the famous dance during their wedding reception. Apparently they even made it on Oprah with Swayze. One major thing missing- the actual dance and Oprah appearance. Worthless.
Theatrical Trailer (2:25):
Eleanor Bergstein Script: This is the script (not in it’s entirety) to scroll through and read.
Dirty Dancing with Patrick Swayze (12:28): An interview with Swayze about the film, his work and the rest of the team behind it. Portions of this are rehashed in some of the other featurettes.
“Hungry Eyes” Music Video (3:46): Performed by Eric Carmen
“She’s Like the Wind” Music Video (3:52): Performed by Patrick Swayze
“(I’ve Had) The Time of My Life” Music Video (4:43): Performed by Bill Medley and Jennifer Warnes
Multi-Angle Dance Sequences: The viewer chooses which shot to watch during the ending dance sequence with The Lift and Everybody Dance. This would have been better if it immediately switched the shot you chose like a real edit rather than having a delay between choices.
Cast Interviews: These are very long extensive interviews done individually in a casual setting. Some of it’s very interesting and some of it is very boring.
Jennifer Grey (11:36)
Eleanor Bergstein (18:36)
Miranda Garrison (13:19)
Kenny Ortega (15:21)
Original Screen Tests: A montage of Swayze and Grey dancing together, then Grey performing a couple of screen test scenes followed by the actual scenes for comparison.
Deleted, Alternate and Extended Scenes: 11 deleted scenes, 3 alternate scenes and 7 extended scenes. There were a few gems in here. One interesting factor is a few scenes contain a different actress as the mother they had to reshoot after she became sick.
Vintage Featurette (6:45): Director, actors and cinematographer talk about the importance of the dancing in the film. FYI, Choreographer Kenny Ortega is the same man who directed Michael Jackson’s THIS IS IT.
Dirty Dancing Live in Concert (1:22:56): A big concert with performance by some of the original singers and songs from the motion pictures along with original dirty dancers. The final performance is of course the Academy Award winning song “(I’ve Had) The Time of My Life.”
The world’s population is nearly all turned into vampires and humans are fast becoming an endangered species. With only a month’s worth of blood left, the vampires turn to a team of their doctors who are working to find a “True Blood” type solution (or in some cases a cure) before blood deprivation turns them all into mindless monsters.
I was happy to see a vampire flick hit theaters that didn’t have the world “Twilight” in it (though to be fair I enjoy the TWILIGHT films), and even more stoked by the fact it was rated R. Being an avid vampire fan I found myself intrigued by the concept of a world populated by vampires, but can’t help but think this blood problem is a touch rudimentary and quite a substantial plot hole. How in the hell do you let people (your only form of sustenance) just die out and not get serious about a solution until you have one month’s worth left!? Come on now, instead of keeping people in the freezer maybe you should have been breeding them like the machines were in THE MATRIX. It’s not exactly rocket science and I find myself hard pressed to believe none of them thought of this beforehand.
There were more than enough subtle nuances to enjoy here that (like the overall concept) bend the rules surrounding what know of vampire lore without breaking them. I totally dug how Hawke met up with Dafoe under that huge tree at mid day when the sun was at its brightest, yet he was able to be outside as long as remained in the tree’s shadow (the daylight driving techniques were a cool addition as well though I’d clearly make a point of getting bulletproof glass for my car). There aren’t a whole slew of new ways to tell an old story, but this film gets points for at least trying.
The cast is also a good seller here, with Ethan Hawke, Sam Neill and Willem Dafoe. I dug Neill as a villain (he pales in comparison to Victor from the UNDERWORLD series though), but did feel the whole subplot with his daughter was completely useless and delivered dick all to the story. The vampire brother vs. brother aspect of things worked on some levels but then again, it’s no surprise that a doctor and a military grunt wouldn’t see things eye to eye. The rallying of humans was pretty weak as more often than not, the humans were dying and in doing so not really helping either cause but the enigma surrounding Dafoe was cool as was the way in which the final solution was delivered.
DAYBREAKERS is a fresh look into the world of vampires; not nearly on the same level as TRUE BLOOD but light years beyond the drama of TWILIGHT. This was also not as groundbreaking as 30 DAYS OF NIGHT, but I’m happy this story didn’t get downsized and pawned off as a direct to DVD gamble like DARK DAYS (the sequel to 30 DAYS OF NIGHT) is going to be. Vampire fans will definitely find something of value here (especially when it comes to all the extras) but all in all this is a pretty good time for Horror fans across the board.
BLU-RAY REVIEW
Video: 2.35:1 Widescreen in 1080p HD with AVC codec. The sets, tone and over all feel of this flick was dark but exceptionally visceral in HD. Good times.
Audio: 5.1 DTS-HD in English and French with those as well as Spanish subtitle options. This baby sounds razor sharp in HD, but Horror always does take full advantage of surround sound.
Commentary with the Spierig Brothers and Steve Boyle: The directors/writers, the Spierig Brothers, along with makeup effects guy Steve Boyle tell us that since Lionsgate picked up their first flick UNDEAD (which the brothers invested their life savings into), they couldn’t wait to work with them again and loved this flick’s concept from jump street.
Bonusview Storyboards/Animatics: This feature (akin to the commentary) adds storyboard art, sketches and the occasional animated bit to the film as it plays through. There were some pretty badass vampire drawings in there.
The Making of Daybreakers (2:01:38): This extensive feature guides us along the four stages of production with several cast and crew interviews along the way. It’s exceedingly hilarious to find out that nearly everyone on board is not overly fond of Horror films.
The Big Picture-Spierig Brothers Short Film (13:51): A very cool Short about how even the smallest decisions/actions can change the course of our lives forever. I totally dug the ending.
Poster Art Gallery: A look at the seven different movie posters. The first three are pretty much the same but I liked the last two.
Previews: There’s a theatrical trailer for the film, a slew of Lionsgate previews, a couple Blu-ray commercials, some BD-LIVE content and a Digital Copy of the feature.
It has been a while since I’ve been excited about a specific special feature for a Blu-ray release. I enjoy almost all picture in picture commentaries and deleted scenes are always fun, but there are very few features I actually want to watch. But the commentary track for the upcoming Blu-ray release for THE RUNAWAYS is one of those features. Although I wasn’t that big of a fan of the film, I’m excited to sit down and watch the film with a commentary track from Joan Jett, Kristen Stewart and Dakota Fanning. I wish they could have gotten Cherie Currie involved, but it still sounds like a fun track.
The Blu-ray hits store shelves on July 20th. Along with Stewart and Fanning, the film stars Michael Shannon and Alia Shawkat and was directed by Floria Sigismondi. I have to say I’m a little disappointed the Blu-ray doesn’t contain any archive footage of the real Runaways.
Commentary with Joan Jett, Kristen Stewart and Dakota Fanning
The one billion dollar phenomenon that is Tim Burton’s ALICE IN WONDERLAND has managed to enchant audiences of all ages around the world. But as I finally sat down to watch the film, I can’t help but feel like something was missing. Tim Burton isn’t known for adding unusual depth to his films, but I felt like he missed a chance to bring his fantastic world to life by getting too wrapped up in creating a beautiful world rather than telling a great story. This is a normal pitfall for Burton, but one I thought he’d rectify with Alice. With that said, we’re still left with breathtaking colors and settings that are a joy to watch, even if the film feels a little shallow.
Trying to describe, in any sort of detail, the plot of Lewis Carroll’s ‘Alice in Wonderland’ or ‘Through the Looking Glass’ is an exercise in futility. But if you’re familiar with the original cartoon, then know that this film acts a sort of sequel (think more Looking Glass and less Wonderland for those that read the books). A 19 year-old Alice returns to her Wonderland and is reunited with her old friends, eventually leading to her realizing her destiny, which is to end the Red Queen’s evil rule.
In a Tim Burton film, especially one with a budget like this, there are two main elements to the movie. The first is the setting, which in this case is incredible. The world he’s created and the costumes, colors and effects are a joy to watch and worth the price of admission alone. This was especially true in the Red Queen’s castle as new characters came to life and the backgrounds told their own story. The forest was also very colorful, with Burton adding characters and plant life that really came to life. The White Queen’s castle was a little on the boring side, but luckily we didn’t spend much time there.
The second aspect to consider with Burton is how well did his actors bring their characters to life. Burton reteamed with his old buddy Johnny Depp, who did a great job as the Mad Hatter. Newcomer Mia Wasikowska starred as Alice and although not much was required of her, she did well as the constant to everyone else’s variable in this Burton experiment. The best performance goes to Helena Bonham Carter (another Burton favorite) who added a personality to the Red Queen that made her endearing despite her penchant for evil.
Overall, this was an fun film, even if it fell a little flat at times. I enjoyed Burton’s vision of the classic novel and all of the actors did a great job with bringing their characters to life. Burton once again delivers a visually pleasing film that should be fun for the whole family.
BLU-RAY REVIEW
Video: I’ve said for a while that Disney makes the best Blu-rays and they prove it once again with a visually stunning Blu-ray transfer that is near reference quality. Burton was heavy on the colors and detail and all of it comes through beautifully on this Blu-ray.
Audio: The audio was almost as great as the video with surround channels utilized efficiently and subwoofer thumps falling in the appropriate spots.
I’m disappointed by this offering of special features, leading me to believe that an uber-edition is on the way in the coming years.
Making Wonderland (19:28): This is a collection of six featurettes that cover specific aspects of the film. None of them dive too far into the process, but everything touches on the subjects we care about when it comes to filmmaking (sound, effects, settings). There is a nice look at how they manipulated the Red Queen’s head.
Wonderland Characters (27:57): Just as the other special feature was dedicated to the making of the film, this one is a series of featurettes dedicated to each character in the movie. There is a featurette dedicated to the Futterwacken, which was probably the worst aspect of the film and distracted from the mood of the ending. But either way, it gets its own feature.
Everyone has their own definition of “horror”, with the word manifesting itself into a deranged serial killer or a fierce monster in most Hollywood films. For me, true “horror” is when a film paints a scenario that weighs on you and damages your psyche. In this case, THE ROAD managed to do just that; create a somewhat realistic scenario that I found myself thinking about long after I finished watching the film.
We catch up with a father and a son living in a world that has been destroyed. There’s no wildlife, no plants and everything is hard to come by. To make matters worse, most of the people that have survived are now cannibals and have no morals or respect for human life. But they continue their journey south in search of nothing more than hope.
The fault of the film lies with how screenwriter Joe Penhall structured the story. There’s a specific moment where the father awakens and looks out the window, presumably seeing that the world has been scorched and life as we know it is over. But it was a fleeting scene that we needed more of. I know they didn’t want to turn this into a disaster movie and instead focus on the bond between father and son, but I really felt that the moment they realized the world was over was an important scene that could have improved the film. I really enjoyed the flashbacks as a whole and felt they added a depth to the story that couldn’t be told in their present day.
But the point of the film is the bond between father and son and the undying “fire” to continue living. It’s a tall task to portray that without much in the way of props or events. We go from one horrible, unspeakable situation to another and it drains the emotions out of the audience. That bond between them was the only bright spot in the whole film and although special, I didn’t feel it was enough to carry us through the film. The film needed a deeper exploration of the idea of good and evil in a post apocalyptic world, but every time we got close to that theme, we seemed to lose it. I liked how the boy still had good in him, as a representation of his innocence and how the father continued to lose the good in him as the film progressed. That theme just needed to be explored further.
The idea of waking up one day and finding the world to be completely destroyed is both petrifying and fascinating. It makes you question what you would do in a similar situation and whether or not you would have the strength or desire to continue living. The film adaptation of Cormac McCarthy’s acclaimed novel was an excellent film, but with some missed opportunities and unexplored themes, it fell just short of being great.
BLU-RAY REVIEW
Video: The film felt a bit grainy at times with the black levels coming through a little saturated. It’s an extremely dark film with blacks and grays being used almost exclusively. But in daylight scenes, the picture was great with what minor detail there was coming through wonderfully.
Audio: This is a very simple audio mix, but the DTS-HD mix sounded great. The minor effects such as wind blowing and sticks cracking came through exceptionally well.
Commentary with John Hillcoat: Although this was his first commentary, Hillcoat did a great job of walking us through the film and detailing everything he thought we’d find interesting. He covered just about every aspect of filmmaking and gave some interesting tidbits along the way. This commentary is definitely worth the time.
Deleted Scenes (6:36): Nothing about these five scenes stood out as being special and most seemed to be cut for pacing reasons.
There’s a lot of debate over how the series of ABC’s Lost ended. But you won’t find any spoilers here because frankly, I don’t know anything. I wait for the Blu-rays to come out and although I’ve been lucky not to find any spoilers so far, this particular news post has been quite challenging. So read the details of the complete series very carefully. The 6th and final season of possibly the greatest network drama of all time is hitting store shelves on August 24th, 2010 along with a complete series set on Blu-ray. Which means I have three months to dodge spoilers as they get hurled at me at a rapid pace.
Box art and Details on the Complete Series set:
Every Episode in the Series (Seasons 1 through 6); Over 30hrs of Season 1-6 Bonus materials (previously released materials from Season 1-5 and the all-new Season 6 bonus material); A unique series of featurettes that takes viewers on very personal tours of Oahu where the series was created, with key cast and crew as they reflect; Exploring the global phenomenon that is Lost, bonus showcases events ranging from the series cast and crew at San Diego’s famed Comic-Con convention to international voice recordings, local events and even fan parties, all of which helped make the show into a worldwide favorite; A closer look at some of the props with cast, writers and producers, exploring their significance, stories and emotional ties to the characters; Humorous yet emotional look at every character who died on the series; 16 hilarious Lost “Slapdowns” featurettes showcasing celebrity Lost fans who confront Executive Producers Damon Lindelof and Carlton Cuse to ask press questions about the final season, including the Muppets and cast members Nestor Carbonell, Michael Emerson, Rebecca Mader and more.
Details on the 6th season set (this was announced several months ago, just wanted to give you a reminder):
Original scripted content that goes deeper into some of the stories, exclusive to Blu-ray and DVD produced by Damon Lindeloff and Carlton Cuse; Bloopers and deleted Scenes; Lost on Location – Go behind-the-scenes and get the stories from the set, on location in Hawaii from the actors and crew who make it happen.; Crafting a Final Season – Investigation into the goals and expectations of the season through interviews with writers, producers, cast, and crew; Audio commentaries; Lost University (BD-exclusive, powered by BD-Live)
Warner Bros. Home Entertainment has announced that THE LOSERS, starring Zoe Saldana, Chris Evans and Jeffrey Dean Morgan, will be coming to Blu-ray July 20, 2010. Although it has a somewhat similar plot to the upcoming summer films THE A-TEAM and THE EXPENDABLES, THE LOSERS held its own and had a decent run at the box office. The film follows a special forces unit as they try to take revenge on their former commander and get back into the states after being abandoned in another country. The release will have a Blu-Ray/DVD/Digital Copy combo pack and a list of special features that include:
“The best romantic couple since THE NOTEBOOK” this is a terribly misrepresented quote plastered on the DEAR JOHN Blu-ray case. It is true that Nicholas Sparks is the author of both books but it is definitely false that these characters have anywhere near the romantic depth and love compared to Noah and Allie.
Special Forces Army Sergeant John Tyree (Channing Tatum) is on leave for a couple of weeks. While at home, he meets the sweet, giving Savannah Curtis (Amanda Seyfried). Their love quickly grows in the short time span and they promise to write each other over his last 12 months of enlistment. After the 9/11 attacks, John reenlists and their long distant love is put to a heavier challenge.
The major problem is that we don’t connect with the characters or their love. I think both actors are charismatic enough but the connection seems like one of those passing moment crushes that we have all encountered on a trip or vacation that we never hear from again. Meeting each other’s family, helps connect them but I specifically can’t understand Savannah’s love attraction toward John. True, he has a chiseled military body, but he has zero personality and even seems to have a few anger issues which is inexplicably presented early on, only to be quickly discarded and never heard from again.
Many scenes are bit improvised in their dialogue to give a more natural feeling. Well that works, if the two people are veteran actors and have more of a romantic chemistry. The scenes are definitely natural but they are natural in the awkward date that would not become a love connection. We see a date begin then we jump to a later point in the date where they are just getting to basic questions. So are we to believe that they’ve been talking on and on for hours? Because I believe it was just one long awkward pause.
To be fair, some scenes worked okay. Seyfried has a naturally bubbly spirit that felt true as a character willing to help people. I can understand her feelings for John, but only as a fixing project not true love. Channing is not quite at the level that his performance needed to be. His “quiet strength” consisted of him grinding his back teeth so his jaw flexed. He did shine at moments specifically in a touching scene with his mildly autistic father (Richard Jenkins). Which brings me to the supporting actors. Jenkins along with Henry Thomas as a close friend to Savannah and single father to an autistic child brought a weight to their performances that definitely grounded the film and made it stronger. I actually cared more about their storylines than our two distant lovers.
In the end, the love-connection and some of the family drama felt a bit forced and gimmicky. The young actors show lots of promise but I’m not sure they can handle the range quite yet. My recommendation would be to skip the film but listen to the smooth sounds of the soundtrack featuring “Paperweight” by Joshua Radin & Schuler Fisk.
BLU-RAY REVIEW
Video: The picture was okay with the exception of a few spots at the beginning that seem a bit out of place and grainy.
Audio: The sound was decent but a couple of times I had to use the captions to understand Channing’s mumbling dialogue.
Alternate Ending (3:41): A longer narration of the final letter from Savannah
Outtakes (2:24): This is a pitiful excuse for an outtakes reel.
Deleted and Alternate Scenes (10:13): 12 scenes that were excusably cut either for redundancy or bad acting.
A Conversation with Channing Tatum, Amanda Seyfried and Lasse Hallstrom (5:24): They all talk lovingly upon working with each other.
Transforming Charleston (14:51): The art director talks about making Charleston look as if it were in Afghanistan, Africa or other location spots in the film. This is always impressive to me and makes me wonder, how much money goes toward this aspect?
Military in Movies: Dear John’s Military Advisors (11:03): A few of the military advisors talk in detail about a soldiers outlook. They discuss the different transitions and changes the military took in the time span the film takes place in, especially through 9/11.
Mr. Tyree, The Mule, and Benny Dietz (4:53): A more detailed look at the history and different coins and the mules which are two coins mixed to become one.
The Story of Braeden Reed (24:33): This goes into detail about the young autistic actor playing an autistic character. They discuss the benefits and challenges of working with an autistic child and how most of the actors ad-libbing when it came to him.
Sony Pictures Home Entertainment has announced that the thriller CHLOE, starring Amanda Seyfried, Julianne Moore and Lian Neeson, will be released on Blu-ray July 13, 2010. The film follows a married woman (Moore) who hires a young escort (Seyfried) to befriend her husband, whom she suspects is being unfaithful. The film had a limited theatrical release but was deemed by some critics as a very intense thriller with great performances by Seyfried, Moore and Neeson. CHLOE was directed by Atom Egoyan who has two Academy Award nominations for his work on the film THE SWEET HEREAFTER. Special features for the film include:
Introducing Chloe: The Making of Chloe
Commentary with actress Amanda Seyfried, director Atom Egoyan and writer Erin Cressida Wilson
I’m going to openly admit that I have never seen an episode of the super popular Fox television show GLEE, I think this makes me a minority. However, I have been waiting to jump on the bandwagon (especially when I heard Neil Patrick Harris was on board for an episode this season) so I was happy to see that Twentieth Century Fox Home Entertainment has announced that GLEE: THE COMPLETE FIRST SEASON will be coming out on Blu-ray September 14, 2010. For those of you who just couldn’t wait for the complete set and went ahead and purchased GLEE: SEASON ONE, VOLUME ONE: ROAD TO SECTIONALS, have heart, because you can receive a $10 rebate by submitting a proof of purchase via mail-in-rebate when you buy your copy of GLEE: THE COMPLETE FIRST SEASON in September. The special features for the set includes:
Behind-the-scenes look at “The Power of Madonna” episode
As the opening scenes unfolded in Garry Marshall’s hodgepodge romantic comedy VALENTINE’S DAY, I couldn’t help but think we were in for a long two hours. Whether it be the overly sappy Kutcher-Alba proposal or his quick speech on how wonderful Valentine’s Day is, everything felt contrived and insincere. But as the other stories began to unravel, I found myself enjoying the different takes on love and appreciating Marshall’s patented what-you-see-is-what-you-get way of making movies. There’s no deeper meaning to this film, but the characters are interesting and the stories are fun, thus making for a nice romantic comedy.
There are several things going on, but the film revolves around Reed Bennet (Kutcher), a flower shop owner that’s running his shop on Valentine’s Day and dealing with the drama in his relationship with Morley (Jessica Alba). Along the way, we meet up with several different couples, all played with an all-star cast and each couple representing a type of relationship that’s proven to be common in today’s world. There’s the cheater and the gullible woman that falls for him. We have the people that resist love or fail miserably at finding it. We have the homosexual couple with one partner uncomfortable with his sexuality. There’s the old couple that’s still learning about each other. Then we have the cute, young couple dealing with sex and the pressures it brings. Finally, we have the twenty-something couple with one partner that has to accept a flaw of the other. All of these stories are intertwined so they have something or someone in common and all of the result is an efficiently paced film.
Normally, I’d be frustrated that each story lacks depth to it and that the entire purpose of the couples can be summed up efficiently in one sentence. But in VALENTINE’S DAY, it actually works. Most of that credit should go to the A-list cast that managed to add depth to the characters that wasn’t there. But when the camera was on Bradley Cooper, Julia Roberts, Topher Grace or Anne Hathaway, the audience was interested and ultimately ended up invested into the characters. As with all ensemble films, you’ll have the relationships you liked (Topher and Anne were tops for me) and the characters you felt were a waste (Jessica Biel served no purpose). But ultimately, the combination of all the stories and the resolution to their problems is what makes or breaks an ensemble film. In this case, the characters were tied together nicely and everyone had their problems resolved, Hollywood-style.
It would be easy to take shots at VALENTINE’S DAY for being a superficial, sappy rom-com that just combined various other rom-coms into one film. Although I agree with that to an extent, but the execution of the film was top-notch and with a great cast and an experienced director, I found the film to be enjoyable. Decent rom-coms are hard to come by these days, so it’s nice to have Garry Marshall back in the genre.
BLU-RAY REVIEW
Video: This is a bit of a soft transfer from New Line/Warner Brothers, which is a surprise given the success of the film and the recent success from the studio. But I found the colors to be a bit flat and it lacked the “pop” I’ve grown accustomed to with Blu-rays.
Audio: It’s kind of the same story with the audio as everything felt subdued. This is a dialogue-heavy film and the dialogue failed to come through crisp and clear. It wasn’t a horrible audio track, but I expected more from the DTS-HD audio.
Commentary with Garry Marshall: Garry’s commentary from PRETTY WOMAN is one of the better single participant commentaries out there, so I was looking forward to his track on VALENTINE’S DAY. He doesn’t match the interest level of PRETTY WOMAN, but he offers enough tidbits and behind the scenes insight that make it worth the listen. He also gives great details about the actual filming of the movie and explains certain shots. This is a good track, even if you’re not a huge fan of the film.
The Stars Confess Their Valentine’s Day Stories (6:28): This is a bit of a fluff piece with various stars sitting down and talking about V-day and sharing some stories. Most of these are rehearsed and none are very interesting.
The Garry Factor (5:03): We usually get one of these featurettes whenever a famous director is involved. The cast and crew sit down and talk about how great Garry Marshall is. Not really worth the time.
Blooper Reel (5:47): The cast members flub their lines and then laugh about it. This was a decent blooper reel only because it featured so many great actors and had at least a little variety to it.
Deleted Scenes (22:28): I had heard that almost all of Taylor Swift’s scenes were cut because of how atrocious she was in the film (she really was bad), but if that’s true, they didn’t all show up here. I didn’t see anything here that furthered the story or changed the film, most seemed to have been cut for pacing issues.
Beware the TOOTH FAIRY. Dwayne “The Rock” Johnson stars as Derek Thompson, a cocky hockey player who’s best known as “The Tooth fairy”. His primary skill as a player is slamming opposing teammates so hard he knocks one of their teeth out. Unfortunately he’s too busy being a show off that does less playing and more time in the penalty box.
His secondary skill is squashing the dreams of small children. This is where the plot unfolds. After having a nice dinner with his girlfriend Carly (Ashley Judd) and her two kids from a previous never talked about sperm donor, the little girl indicates that she finally lost one of her teeth. Derek, being the outstanding boyfriend, tells this sweet child that the tooth fairy isn’t real. Carly gets pissed and Derek goes home to sleep in his own bed all alone. Mysteriously he is woken up in the middle of the night to a glowing summons under his pillow that says he must report for mandatory tooth fairy duty. Next thing you know, he’s magically transformed into a pretty little tooth fairy in a pink tutu. Can you smell what the Rock is cooking? I hope not.
The rest of the film is a journey of self-discovery. With the help of his fairy trainer Tracy (Stephen Merchant), Derek must learn to be the best damn tooth fairy in all the land. If not, he might be a fairy forever according to the queen of the fairies, Lily (Julie Andrews). The trouble doesn’t end here! The much younger and faster rookie, Mick Donnelly played by skateboarder Ryan Sheckler, is threatening Derek’s hockey popularity. Either way, it looks like Derek is the one getting jammed here.
Needless to say, the plot is one that we have become all too familiar with. The underlying message is telling us that our kids are growing up too fast and are loosing the one thing that means anything–their imaginations. If they don’t believe, then they can’t achieve. (Yeah, I went there.) There are other movies that demonstrate this point a little better, with a great script. Perhaps watch something like HOOK? I hope that you get that off Netflix instead.
What really bothers me is that Johnson has seen better days. The guy was great in the extremely underrated SOUTHLAND TALES as well as BE COOL, which was sadly a lackluster film. I think that Johnson has more potential, but for whatever reason won’t test it out. There is hope however…Johnson might get back to his ass busting roots in a film titled, FASTER with co-stars like Carla Cugino, Maggie Grace, and Billy Bob Thornton. It may be hard to believe but I once watched wrestling religiously and it was because of The Rock. The guy knows how to entertain a crowd. The only problem is, his powers are used for evil instead of good.
The only thing that kept me happy through the entire viewing was Stephen Merchant and cameos by Billy Crystal and Seth MacFarlane. Merchant is the living embodiment of a cartoon character and his facial expressions alone are worth the time spent on this movie. I might have actually developed a crush on Merchant, who I already knew from one of my favorite new series, THE RICKY GERVAIS SHOW as well as for his writing on THE OFFICE and EXTRAS. Crystal’s character is a lot like the one he had in PRINCESS BRIDE, Miracle Max. His jokes may be tired to some, but I still find him delightful. Last but certainly not least, there’s MacFarlane as a shady back alley-peddling fairy. It’s a good WTF moment.
If you have kids, they might enjoy it. That’s actually stretching it quite a bit. The only time you might ever want to experience this film is if the rest of the movies in the world disappear and all you’re left with is this and something from Uwe Boll. What’s the outcome of that decision? Boll loses again.
BLU-RAY REVIEW
Video: Video quality is surprisingly good. Then in other instances the editing is a bit off. The kids will never notice. (1.85:1 Widescreen).
Audio: The sound was great. I really didn’t expect this, but they put a lot into the visual and audio for this Blu-ray. (5.1 DTS-HD).
Commentary by Michael Lembeck: Although I highly doubt you’ll watch this film again, the commentary from Lembeck is rather informative and entertaining. I almost fell asleep a few times, but maybe you’ll fair better than myself.
Introduction by Director Michael Lembeck (:22) : Exactly that. For some reason this film needed a short introduction.
Toothfairy Training Center (20:31): I doubt even your kids will enjoy this tooth fairy workout. It’s borderline embarrassing.
Fairyoke (3:50): A very hilarious karaoke jam with Johnson and Merchant singing “Wind Beneath My Wings”. Includes optional introduction by Lembeck. (Seriously? Enough with this guy.)
Gag Reel (2:34): Mostly giggling amongst all the actors. You might occasionally laugh, especially at the interaction between Johnson and Merchant.
Deleted Scenes (11:16): Why they cut these scenes instead of others is beyond me.Also includes more unnecessary commentary from Lembeck, if you so choose.
Behind the Scenes (38:55): Surprise! Another intro is included from Lembeck along with visual effects supervisor Jake Morrison (The Lord of the Rings, 300, Speed Racer). I was actually quite interested in this as it went along. The behind the scenes also has accompanied commentary from Lembeck and Morrison who keep it entertaining and educational.
This historical drama tells the tale of a young Queen Victoria as she struggles with newfound power at court whilst trying to decipher who’s with her, who’s against her and who’s plotting to use her to further their own gains. The good news is that this isn’t the boring history lesson I assumed it would be and ends up being a rather engrossing story of intrigue, devotion and love. Not usually my cup of tea but in the end even I was compelled to utter “long live the queen.”
England’s Royal Family has always been a topic surrounded by mystery and scandals, case in point (depending on whom you ask or what you choose to believe) some even suspected Jack the Ripper of being tied to the Royal Family. This was never proven mind you and clearly frowned upon, but a living rumor nonetheless. Before this film, that was about the extent of my “Royal knowledge” and I was fine with that. Upon reflection, I do find it ironic that being someone who speaks English as a first language, the thought of taking interest in England’s roots never occurred to me. I felt bad when Dianna passed away, but never knew that Prince Albert died at the young age of forty-two. Over and above the film’s romantic overtone, I found there to be quite an array of small things to pick up on.
Watching the nobles convene, scheme and work the room was nothing new as this state of affairs has a similar ring to the politics of Rome, the Church and every other hierarchy of power. It’s all the same game but with slightly different rules. One my favourite lines is when Albert and Victoria are playing Chess and Albert tells her that she needs to learn the rules of the game (politics) and become better than those around her trying to usurp and undermine her authority. The relationship between Albert and Victoria is flawless, Emily Blunt and Rupert Friend have a magical chemistry that made me feel all fuzzy inside (shhh, don’t tell anyone). There’s a Romeo and Juliet feel to their relationship at first, but thankfully they don’t end up drinking any poison or playing with daggers.
Thinking back to all those times I’ve seen Prince William and his brother splashed all over the front page of magazines breaking loose like it’s nineteen ninety-nine are starting to make a bit more sense to me now. Seeing just how sheltered these royal children are prior to their eighteenth birthday is mind-boggling. Victoria wasn’t allowed to walk down the stairs by herself, couldn’t read books, had her mail screened a good half dozen times and I can only imagine the thoughts going through a young kid’s head after being told why she needed to have someone taste her food before she ate it.
THE YOUNG VICTORIA is a beautiful Titanic-esque love story with factual roots. The cast does a superb job (I personally dig Paul Bettany quite a bit, so much so that I’m willing to forgive the cheese fest that was LEGION) and as I said, Blunt and Friend are a vision together and oh so easy to fall in love with. I’ve made it clear that Drama isn’t exactly my M.O. but even I can be a big softy from time to time and I won’t deny that this was a nice feel good film that I can easy recommend for that quite night at home.
BLU-RAY REVIEW
Video: 2.35:1 Widescreen in 1080p HD with AVC codec. Despite the rain, London looked beautiful around the castles and in the gardens, especially on Blu-ray.
Audio: 5.1 DTS-HD in English with the option of subtitles. For a historical piece, there was no real sign of accents or different forms of slang but I was cool with it.
Deleted and Extended Scenes (21:38): With the exception of the coronation ceremony, these embellished scenes just try to stir up more mischief but ultimately add nothing to the story.
Making of The Young Victoria (5:42): Here we get a brief explanation of how the film was intended to focus upon Victoria and Albert’s many good times before his untimely death as some people are inclined to forget.
Lavish History: A Look at the Costumes and Locations (7:20): The design team explain that since this film is based upon fact they dug deep in an attempt to accurately recreate as much as possible in hopes of achieving realism.
The Coronation/The Wedding (5:21): This is simply both scenes taken from the film and set aside to view on their own.
The Real Queen Victoria (7:28): Actress Emily Blunt explains how she really did her homework while preparing for this role and how upon reading the Queen’s personal diary was blown away by how feisty a character she truly was.
Previews: There are a handful of trailers as well as some BD-LIVE content if you hook up to the internet.
Universal Studios Home Entertainment will be releasing the thriller REPO MEN, starring Jude Law, Forest Whitaker and Liev Schreiber, on Blu-ray July 20, 2010. The film takes place in the future where human organs are sold (instead of donated) and then made available for repossession if payments are not on time, the Repo Men are the ones who come and cut the organs out of the miscreants. When one of the best Repo Men in the business (Law) receives a new heart, he experiences the other side of his business. The Blu-ray will include an unrated director’s cut as well as the theatrical version. Special features on the disc will include:
Inside the visual effects: get an “insider’s” look at the unique visual effects used in the film.
Union commercials: see the unique Union commercials used in the film in their entirety.
Feature commentary with director Miguel Sapochnik and writers Eric Garcia and Garrett Lerner
Deleted scenes with optional commentary with Sapochnik, Garcia and Lerner
The buddy cop film COP OUT, starring Bruce Willis, Tracy Morgan and Sean William Scott, will be released on Blu-ray July 20, 2010. The Blu-ray special edition, entitled: COP OUT: ROCK OUT WITH YOUR GLOCK OUT EDITION will include a BD/DVD/Digital Copy combo pack. This movie was directed by Kevin Smith but written by Robb and Mark Cullen, and was not well received by critics. The film follows a veteran cop (Willis) whose rare baseball card is stolen and he must track down the suspect with his partner (Morgan) so he can sell the card and pay for his daughters wedding. The special feature include:
Wisdom from the S*** Bandit
Focus Points
Maximum Comedy Mode with Kevin Smith Seann William Scott
Almost all sports movies use their respective sport as a type of metaphor for the life experiences the lead character is going through. Not every movie succeeds at this, of course, but the idea of using sport to represent life is nothing new. The refreshing thing about INVICTUS is that it didn’t use rugby as a metaphor for any greater message, but rather it showed how a particular sporting event (rugby World Cup) played at a specific time (post-apartheid) in a particular place (South Africa) was a catalyst to unite a country that was wrought with bitter feelings on both ends. Throw in a couple of wonderful performances from Morgan Freeman and Matt Damon, and a great directorial effort from Clint Eastwood and you have yourself a powerful sports film.
Matt Damon is Francois Pienaar, the captain of the nearly all-white South African rugby team that has grown accustomed to losing matches. Morgan Freeman is Nelson Mandela, the newly elected leader of South Africa that is faced with the unenviable task of uniting a nation of blacks and whites that still have fear, hatred and doubts about the other race. While trying to bring peace to his devastated country, Mandela takes an interest in the rugby team and puts hopes in them to help unite his country. He tasks Francois with the lofty task of winning the World Cup and uniting the blacks and whites in a common interest; rugby.
I’ve heard the complaint that American audiences are lost because most Americans don’t understand the sport of rugby. I don’t know the rules of rugby, but it didn’t take away from the point of the film. Rugby is just a catalyst for the rest of the film. We understand the basics of all sports and Eastwood does a fine job of keeping it simple for us. The treasure in the film is watching the transformation of people and their prejudices as the rugby team starts winning. Americans see this in cities when their sports team starts doing well. If you were in a bar in New Orleans when they won the Super Bowl, then you saw people that may normally hate each other hugging in the streets. Sport is the common unifier of people and a team’s success can break down a lot of barriers. Nelson Mandela knew this and that’s one of the reasons he was so intent on supporting the national rugby team. The South African rugby team had a very unique opportunity to unite a country amidst turmoil and the results of their victories were felt by everyone in the country.
Of course, it doesn’t hurt that you have two great actors carrying the two intertwining storylines. Freeman is great as Mandela, conveying the message of peace with every line and action. Damon’s interpretation of Pienaar was also wonderful as he had to carry the burden of a country with the pride of an athlete. It was great watching them teach each other various lessons and observing them grow, all with the watchful camera of the great Clint Eastwood. It’s rare that a sports movie successfully conveys a greater message, but INVICTUS managed to do just that.
BLU-RAY REVIEW
Video: I’ve noticed that most of Clint Eastwood’s films seem to have a bit of a haziness to them as the director shies away from the crystal clear images that most directors go for. It adds to his style and this Blu-ray manages to stay true to the source material and the result is a wonderful transfer.
Audio: The DTS-HD track is crystal clear with all channels being used effectively. Although it didn’t tear the roof off, it was extremely smooth and clear, creating a great listening experience.
Vision, Courage and Honor: Every Blu-ray should have a picture-in-picture commentary track. Of all the benefits of Blu-ray, the PiP’s are one of the best. This one is no different as we get to watch several interviews with the legendary director that is enjoyable and informative. Anyone that enjoyed this film owes it to themselves to watch this.
The Eastwood Factor (21:52): This felt oddly familiar and extremely similar to one of the features found on GRAN-TORINO. But it’s a short overview of Eastwood’s life and career, which is nice for those that haven’t seen it before.
Damon Plays Rugby (6:51): Obviously, getting a Hollywood star into the toughest sport around is going to bring its own featurette. This is pretty much what it says it is and is a little more light-hearted compared to the other features.
Mandela Meets Morgan (28:03): This one actually isn’t what you think it is. This is more of a making-of featurette where everyone chimes in with how great the other cast members are and how much they love the story. It’s better than most making-of featurettes, but nothing earth shattering.
Warner Bros. Home Entertainment has announced that the New Line film SE7EN (also known as SEVEN), starring Brad Pitt, Morgan Freeman, Kevin Spacey and Gwyneth Paltrow, will be released September 14, 2010. This special edition Blu-ray release is being supervised by director David Fincher and will come with a 32-page booklet on the making of the film and will also come in DigiBook format. Quick refresher, SE7EN follows two cops as they track down a serial killer who bases his murders on the seven deadly sins. The Blu-ray is full of special features that include:
Alternate endings
Additional/extended scenes
The Notebooks: Full motion video details “John Doe´s” writings
Exploration of the opening title sequence from multiple video angles with various audio mixes and two commentary tracks
Four audio commentary tracks:
Story commentary, with Fincher, author Richard Dyer, screenwriter Andrew Kevin Walker, editor Richard Francis-Bruce and New Line president of production Michael De Luca
Sound commentary, with Fincher, sound designer Ren Klyce, composer Howard Shore and author Richard Dyer
Picture commentary, with Fincher, director of photography Darius Khondji, production designer Arthur Max, editor Richard Francis-Bruce and author Richard Dyer
Stars commentary, with director David Fincher and actors Brad Pitt and Morgan Freeman
Production design and still photographs with commentaries
If I were to come across LEGION on a made for TV Sci-Fi network special, I’d think, “all right, not bad.” But as it stands this is a film with a few stars, a strong production and a theatrical release, which it warranted none of the above.
Lets break down the story. God is angry with mankind because they are so sinful- hmmm, is this considered an oxymoron? So he decides to send his angels to annihilate all humans. The Archangel Michael (Paul Bettany) still believes in humanity and he disobeys God to protect the people- so does this mean Michael is better than God? The angels possess the weak willed, which is exactly the same result of a demonic possession only it’s an angelic possession. The possessed become overly vulgar, twisted and murderers- sounds quite heavenly. Michael and a small band of uninteresting people hold up in a diner in the middle of the desert during the Apocalypse. Michael arms everyone with machine guns to tear through the possessed like paper. The goal is to make sure a pregnant white trash teen named Charlie (Adrianna Palicki), who hates herself and her unborn child, deliver her baby. For some reason or another the baby is supposed to restore humanity- except that was never explained like most plot details.
I’m the first to admit I like Science Fiction films and I’m pretty open minded to most story lines. However, LEGION builds against a basic rule yet never expands anywhere beyond that. Regardless of one’s belief, to have an angel that God created to know better than God is tough to get on board with. If you make God weak, he ceases to be God. Also, if you are using a cool tough angel to do your fighting why bother with machine guns? Spraying bullets at cars and people is nothing new and interesting. It’s like watching someone read a book
None of the characters have any sort of arc or redemption. They all act as if they have some deeper issue but none of them get fully explained or resolved. It’s important that an audience becomes attached to the characters so that we might care for them providing the film with more tension. Director Scott Stewart chose not to adhere to this rule whatsoever. Without being to rude to the acting and their dialogue, I’ll simply state: Lucas Black, Dennis Quaid, Charles S. Dutton, Tyrese Gibson and Kate Walsh were also in the film.
Stewart comes from a special effects background so it’s only natural that he would build his film around effects and camera tricks. That aspect of the film was the highlight using really cool imagery with some exciting stunts. However, every other aspect was lacking so much that obviously the entire script was built around those scenes, specifically one involving a possessed grandmother, which is by far and away the creepiest, most memorable scene. But then as soon as the scene is over we get the gem question of, “Why, does that guy have a gun?” Really? That’s the question in your head? Not, how is this human defying gravity and physics? Why does she want to eat our flesh?
BLU-RAY REVIEW
Video: The picture looks great. All new films are really capitalizing with the Blu-ray quality
Audio: The sound was decent but the volume of the music and explosion levels were a bit louder than the voice levels.
Creating the Apocalypse (23:41): This explains a handful of physical effects with wires and tricks or gags including the possessed ice cream man, possessed Gladys (the old lady), the fight between Michael and Peter and the car crashes.
Ironically, Stewart at one point says, “The anticipation of the scare is better. Give the audience time to be invested in the characters.”
Humanity’s Last Line of Defense (11:32): This basically goes over the cast and their characters, interviewing each of them as they give their thoughts on who the character is. I’m always surprised at how serious some actors are about their role in films like this.
From Pixels to Pictures (10:56): A look at the computer generated visual effects, sometimes making small adjustments or finely tuning some of the physical tricks used.
DOCTOR ZHIVAGO is one of the last true epic classics of American Cinema before the use of special effects. Coming in well over 3 hours, its one of those few films that includes it’s own intermission. I originally saw this film about ten years ago as I was watching all the films that were on the original AFI’s Top 100 Films (DOCTOR ZHIVAGO is number 39). I was a bit bored and disappointed. However this time around, maybe because I’m older and believed to be wiser, it was far more impressive. All the credit is deserved to director David Lean who made pictures meant for the big screen, which we can now enjoy on Blu-ray as well.
The story spans the time throughout the Russian Revolution. The film is filled with intertwining characters and subplots but mostly follows the life of poet and doctor, Yuri Zhivago (Omar Sharif) during those desolate times. He is married to Tonya (Geraldine Chaplin) but has a passionate love affair with Lara (Julie Christie) who was raped by her caretaker and cold politician Komarovsky (Rod Steiger). Lara is also married to Strelnikoff (Tom Courtenay) a strong advocator of the Bolshevik revolution. The film is bookended with Zhivago’s half-brother Gen. Yevgraf (Alec Guinness) telling the story to the possible daughter of the forbidden lovers.
It’s interesting to have a story in which our leads union is actually very wrong but they pull it off like it’s OK. This is the strength and weakness of the film. I can’t get behind characters that have an affair, but if anyone were to ever pull it off it would be Omar Sharif. He has so much passion and compassion behind his eyes that it reaches through the screen and touches the heart. Julie Christie is absolutely beautiful as Lara! I was completely entranced by her beauty while Geraldine Chaplin is the quiet strength of the film. She knows that she loves her husband more than he and accepts her life.
The real star is not the story itself but the way the story is told by director David Lean. He also directed THE BRIDGE ON THE RIVER KWAI and LAWRENCE OF ARABIA in which he used most of his same crew. These films are numbers 13 and 5 on the AFI’s 100 List. Lean lets the audience figure out things without overtly telling them. He lets the actions speak for themselves and tells the story with the camera. He fills the screen with grand scenery, great tracking shots and uses color, lighting and symbolism throughout the film. Lean’s directing style is a skill sorely missing in today’s pictures.
DOCTOR ZHIVAGO won 5 of 10 Academy Award Nominations. The film won Oscars for Best Art Direction (John Box), Best Costume (Phyllis Dalton), Best Score (Maurice Jarre), Best Adapted Screenplay (Robert Bolt) and Best Cinematography (Freddie Young). With Nominations for Supporting Actor, Director, Editing, Sound and Picture. It’s important to give these credentials because all these people in their respective areas were magnificent in their work and earned the credit they received.
BLU-RAY REVIEW
Video: Wow, this is an impressive transfer for such an old film. I originally saw the 1965 film on VHS and it affected my viewing. The colors were dulled and the image was grainy. This restored version on Blu-ray is magnificent and improved the film immensely so that it may be viewed as intended.
Audio: The sound is also beautifully restored, specifically with the magnificent score playing throughout the film.
Commentary by Omar Sharif, Rod Steiger and Sandra Lein: Rod Steiger did his part separate from the other two so his commentary is spliced between conversations. All three are very insightful with interesting stories from the film. Sharif and Lein are definitely more kind and passionate while Steiger is complimentary but a bit more practically honest about the picture.
Commemorative Retrospective Doctor Zhivago: A Celebration- Part 1 (23:52): Several filmmakers, mostly comprised of writers, producers, cinematographers admiring the film in detail about specific areas.
Doctor Zhivago: A Celebration- Part 2 (16:12): This is a continuation with the different filmmakers expanding further on areas such as the use of colors and how the film was received.
DISC 2
Documentary Doctor Zhivago: The Making of a Russian Epic (1:00:22): A very detailed making of documentary with interviews from the cast, cinematographer, set designer, costumer and others. David Lean is given lots of credit in all areas of the production. This is an excellent insight into the film and is emceed by Omar Sharif.
Zhivago: Behind the Camera with Dave Lean (10:10): A sort of extended narrated trailer of the film, explaining who all was behind the process.
David Lean’s Film of Doctor Zhivago (7:10): Another narrated extended trailer describing the film, how it came to be and who was behind it all.
Moscow in Madrid (4:26): Yet Another old-school narrated trailer how they made Spain look like Russia.
Pasternak (8:50): This goes more into detail about the author, Boris Pasternak, of the Nobel Prize-wining novel Doctor Zhivago then goes onto the transfer from the page to film. Similar to the style of the previous featurettes
New York Press Interviews Julie Christie (10:07): 3 interviews in a row at a press junket sitting at a table. Lots of noise in the background and Julie smoking up a chimney.
New York Press Interviews Omar Sharif (18:52): Same thing but with 5 interviews. It’s interesting (and embarrassing) how each of these interviewers spends their few minutes with the star. By the way Omar was also smoking up a chimney.
Geraldine Chaplin Screen Test (3:14): Two takes on her character reading the letter from Zhivago.
This Is Julie Christie (1:06): A promotional blurb on Julie
This Is Geraldine Chaplin (1:08): A promotional blurb on Geraldine
This Is Omar Sharif (1:38): A promotional blurb on Omar
Chaplin In New York (2:14): Highlights Geraldine and how she is the daughter of Charlie Chaplin.
Original General Release Trailer (3:42): I always find these a bit interesting. It really dates any film to see how it was advertised the year it comes out.
Cast And Awards: A list of each of the cast’s film credits and the Golden Globe and Academy Award wins and nominations from the film.
DISC 3
8-Track Version of the Grammy-Winning Soundtrack Album Showcasing Maurice Jarre’s Timeless Score: 8 of the tracks from the beautiful score. The entire CD is just under thirty minutes.
Nobody does unadulterated, blind vengeance quite like Mel Gibson. After taking way too long of a break between movies, Mel returns to form in character that possesses some of the qualities that made some of his greatest characters memorable. Mel is no stranger to the “man on a mission and with nothing to lose” character and although this isn’t quite the grand return we were hoping for, Mel offers enough greatness to keep us entertained and excited for the next turn. Although the film suffered at times, at the end of the day we get Mel Gibson back in action and busting bad guys, which is always welcomed.
Mel is Tom Craven, a Boston detective that watches his daughter get mercilessly shot down right in front of him. At first, it’s thought that he was the target of the violence, but after investigating further, he realizes that the gunman was after his daughter all along. This is where the mystery starts to unfold while we splice in shots of Mel violently beating anyone that stands in his way. His research and beatings lead him to the desk of his daughter’s former employer, where he begins to realize the cover-up and conspiracy is much greater than he ever anticipated. Unfortunately, the audience figures things out pretty quickly, so the mystery of the film is a little anti-climatic, which put more pressure on Mel to deliver on the attitude and violence.
As it turns out, Mel’s violent attitude is what makes the film and ends up covering up a lot of the film’s shortcomings. Sadly, the biggest negative in the film comes from director Martin Campbell, who made some odd choices and choppy edits that served to distract from the film. The movie lacked a smoothness that it needed for Tom to go from source to source. Instead, Tom ended up at various points in his journey and it was unclear why or how he got there. It was fine in the beginning as he was going through his daughter’s phone, but it got convoluted as the attention turned to the company behind the murder. That choppy, unfinished feeling came back with some awkward scenes with both Mel and Ray Winstone, where they were either given too much time to say their lines or not enough. Campbell is a fine director, but something went askew in the editing room and it took away from an overall quality film.
I have to admit that I was expecting greatness from EDGE OF DARKNESS and I’m a little disappointed I only ended up with a good film. Despite his mistakes in his personal life, Mel Gibson is one of the greatest actors of our generation and seeing him in front of the camera again was a blast. He’s one of the few actors that can make any film watchable and that charm and charisma carried this film from start to finish. Even with some bad editing and questionable directing, EDGE OF DARKNESS is an enjoyable film that should please all Mel Gibson fans.
BLU-RAY REVIEW
Video: This is an outstanding release from Warner Brothers and one of the better “dark” video transfers I’ve seen. The black levels were clear and distinct as were the strategic use of color that popped up throughout the film.
Audio: The audio was not quite as great as the dialogue struggled to come through at times. The mix felt a little uneven and could have benefited from a more efficient use of the front channel, especially with the dialogue.
Focus Point Featurettes (31:16): These are a collection of 9 mini-featurettes that cover the very basic elements of the film (location, making-of, the score, etc.). There’s some decent content in here, but the featurettes themselves are too short and choppy. This would have worked better in a longer featurette.
Deleted Scenes (5:58): Nothing new with these scenes. It was actually difficult to tell that they weren’t in the finished film.
Universal Studios Home Entertainment has recently announced that the classic Hitchcock thriller PSYCHO, starring Janet Leigh and Anthony Perkins, will be released on Blu-ray October 19, 2010 in a “meticulously restored” 50th Anniversary Edition. The release will include a new 5.1 DTS audio soundtrack as well as the original mono audio track that was released in theaters. PSYCHO will also be honored at the 2010 Cannes Film Festival because of this monumental anniversary. Hitchcock fans will love all the special features that will be added to this special edition release which will include:
The Shower Scene: A look at the impact of music on the infamous “shower scene.”
Lobby Cards: View a gallery of promotional lobby cards from the film’s theatrical campaign.
Newsreel Footage: The Release of Psycho: Vintage newsreel on the unique policy Alfred Hitchcock insisted upon for the release of the film.
The Shower Scene: Storyboards by Saul Bass: Original storyboard design.
In the Master’s Shadow – Hitchcock’s Legacy: Some of Hollywood’s top filmmakers discuss Hitchcock’s influence and why his movies continue to thrill audiences.
Hitchcock/Truffaut Interviews: Excerpts from a 1962 audio interview with Alfred Hitchcock.
Psycho Sound: A never-before-seen piece that looks at the re-mastering process required to create a 5.1 mix from the original mono elements using Audionamix technology.
The Making of Psycho: A feature-length documentary on Hitchcock’s most shocking film
Posters and Psycho Ads: See a gallery of original posters and ads from the theatrical campaign.
Feature-length audio commentary with Stephen Rebello (Author of Alfred Hitchcock and the making of Psycho)
Behind-The-Scenes Photographs: View rare photos showing the cast and crew at work.
The Psycho Archives: See the gallery of on-set photo stills from the film’s production.
Production Notes: Read an essay on the making of the film
Re-Release Trailers: Watch the promotional trailer created for the re-release of the film.
Theatrical Trailer: Watch the original promotional trailer from the film’s theatrical campaign.
Paramount Pictures Home Entertainment has announced the film SHE’S OUT OF MY LEAGUE, starring Jay Baruchel, will be released on Blu-ray June 22, 2010. The romantic comedy follows Baruchel who is a nerdy guy that lands a girl who is “out of his league” and tries to start a relationship with her. The film was not as successful as one would expect considering Jay Baruchel is one of Judd Apatow’s guys, maybe Baruchel is not quite ready to carry his own film. Even though it crashed and burned at the box office with a meager $31 million gross, we’re getting a quick release to Blu-ray with special features that include:
Extended ending
Deleted scenes with optional commentary by director Jim Field Smith
Devon’s Dating Show—A “do’s & don’ts” guide to dating for guys
MGM Home Entertainment and 20th Century Fox Home Entertainment will be releasing the comedy HOT TUB TIME MACHINE, starring John Cusack, Craig Robinson and Clark Duke, on June 29, 2010. The follows a group of friends as they try to reconnect with a trip to a run-down ski resort. When they take a dip in the hot tub, they find themselves back in 1986 and hilarity ensues. This film actually opened March 26, 2010 and did well at the theaters, so well in fact, they are releasing the Blu-ray just three months later. The Blu-ray will include both the theatrical release as well as an unrated version with 10 extra minutes of footage. Special features include:
Twentieth Century Fox Home Entertainment will be releasing the comedy OUR FAMILY WEDDING, starring America Ferrera, Forest Whitaker and Carlos Mencia, on July 13, 2010. The film follows the relationship between a couple with different cultural backgrounds whose family is brought together through marriage. The interracial couple’s fathers (Whitaker and Mencia) have to get past their large egos and end their feud so their kids can have a happy wedding. This film didn’t look terribly interesting and went in and out of theaters rather quickly, which is too bad since America Ferrera is a good actress with a potentially decent career ahead of her. Special features include:
NINE, based on the Broadway musical of the same title, is set in stylish 1965 Rome and follows the story of an unraveling, worn, exhausted director, Guido “Maestro” Contini, (Daniel Day-Lewis) and the women who consume him. With ten days left to pen a movie script before filming begins he is confused, mixing the movies he creates, his real life, his past and present into a madness that pushes him to escape Rome not knowing where he is running to or what he is running from, essentially running from himself. Rob Marshall does a fantastic job directing this film and the a-list ensemble cast. The costuming, sets, bright bold colors blended with gritty black and white clips are all in your face brilliant. I love each musical number, especially the solo performances of Day-Lewis and Cotillard and was blown away with Fergie’s Be Italian number. WOW.
NINE features a variety of incredible actresses: Nicole Kidman, Judi Dench, Sophia Loren, Kate Hudson, Fergie, Penélope Cruz and Marion Cotillard; all key players to Guido’s emotional rollercoaster. Forgive me as I touch on each of the actresses, but I feel it important to say something about each; their performances were remarkable in their own way. Though we don’t see much of her, the times we are graced with Kidman’s presence are welcome. I wish we could see more of her as Claudia Jenson, actress and Guido’s muse. As a loyal friend who knows all of Guido’s faults, Lilli (Dench) is fantastic! She accepts him yet tries in her own subtle way to help him, acting as a sounding block and confidant. The iconic Sophia Loren is Guido’s mother who has passed but shows up throughout the film as someone Guido talks to for advice, to express his guilt and looks to for guidance. The flashy costumes and bold songs by Hudson and Fergie are the most fun as far as the musical numbers are concerned. Guido’s married mistress, Cruz, is incredible. She does it all, sings, dances and is funny, absent-minded, and tragic. Her love for Guido, and her husband, Luigi, is heartbreaking. Finally, as Guido’s dutiful wife, Cotillard’s performance is wrought with emotion but effortlessly played. It is easy to see that Guido loves each of the above mentioned women, in his own cruel way, but does not fully commit to just one. Daniel Day-Lewis is magnificent, oozing style and cool in his black suits, sunglasses and cigarettes. Without a word you know how he feels just from looking at him. Day-Lewis is an impressive actor in all his works, NINE is no exception. Though each performance was done to perfection, the storyline itself didn’t do much for me.
This is a visually stunning, beautiful movie with powerful music and enchanting performances by each character.
BLU-RAY REVIEW
Video: The video quality of the bold and vibrant colors and gritty black and white scenes, sets and costumes all looked great.
Audio: The sound, an important part of any musical, was clear and pitch perfect.
Commentary with Director Rob Marshall and Producer John Deluca: The two don’t add much light to the making of the movie or specific scenes or how they were shot. Not a terrible commentary but nothing outstanding.
The Incomparable Daniel Day-Lewis (5:06): The director, producer and cast discuss how great Daniel Day-Lewis is as a person and an actor.
The Women of NINE (10:46): Interviews with each of the seven women leads and we learn that they were cast before the script was written.
Director Rob Marshall (6:26): The producer and cast discuss how great it is to work with Rob Marshall. We learn how involved and talented he is as a dancer, choreographer and director. (Rob Marshall shows us he can still work the dance floor 1 of 5)
Behind the Look of NINE (8:18): Typical behind the scenes where set design, costumes, musical numbers, choreography and talent are addressed. I fell asleep during this and had to re-watch it.
Dancers of Nine (4:39): Interviews with the dancers, a glimpse at their auditions and Rob Marshall discussing choreography. (Rob Marshall shows us he can still work the dance floor 2 of 5)
The Choreography of ‘Be Italian’ (4:16): Fergie is excited to have such an extensive rehearsal schedule since she doesn’t get this with the Peas. Rob Marshall and the set designers add their two cents. (Rob Marshall shows us he can still work the dance floor 3 of 5)
Making of ‘Cinema Italiano’ (2:53): Kate Hudson discusses the complexity of the song; how she was pushed to sing this song and that she is a song writer too but only writes sad songs, nothing this upbeat. (Rob Marshal shows us he can still work the dance floor 4 of 5)
The Choreography of ‘Cinema Italiano’ (8:36): Rob Marshall explains the creation of the song, rehearsal time, how of a worker Kate Hudson is. (Rob Marshall shows us he can still work the dance floor 5 of 5)
Sophia Loren Remembers Cinecitta Studios (12:45): Sophia Loren shares a story of her debut as an actress and her first studio interview as well as other great moments she remembers from working with Italian directors.
Screen Actors Guild Q&A (43:14): Daniel Day-Lewis, Nicole Kidman, Kate Hudson, Judi Dench, Penelope Cruz, Marion Cotillard are interviewed. Fergie and Sophia Loren are absent. Kate Hudson seems bored throughout the interviews except when she is talking. Penelope Cruz, Judi Dench and Nicole Kidman are charming throughout their interviews. Daniel Day-Lewis has some funny moments too. Ultimately, this interview is a basic repeat of the interviews during the Women of NINE featurette. This feature has a weird static and echo sound, that of a press conference.
Music Videos: These are basic music videos for ‘Cinema Italiano’ featuring Kate Hudson, ‘Take It All’ featuring Marion Cotillard, and ‘Unusual Way’ featuring Griffith Frank.
I was actually kind of excited about seeing FLIGHT OF THE INTRUDER. I had missed out on the Navy pilot film when it came out in 1991. As I watched the film I began recognizing scenes and I soon realized, I had seen this film. My only guess is that it was so awful my brain psychologically tried to block it from memory. I was shocked and surprised just how bad this film was.
After questioning the purpose of Navy bombing missions, Intruder pilot Jake ‘Cool Hand’ Grafton (Brad Johnson) teams up with bombardier Virgil Cole (Willem Dafoe) on his third tour of duty, to do an unauthorized bombing mission in dangerous “Sam City” in North Vietnam.
Willem Dafoe was nominated for best supporting actor in a phenomenal performance in PLATOON back in 1986. I cannot believe five years later he downgraded so heavily in such a poor military film. All the actors lack any sort of energy. Even Danny Glover, who by this time had finished a couple of LETHAL WEAPON films, was very underwhelming for being a veteran in action/authority roles. As the stern Commanding Officer his yelling was weak and as if he was going to break out laughing every time he was attempting to be angry. All the actors felt like first time acting students in their very first acting class- extremely timid trying to put out any emotion by yelling half-heartedly.
The film was tired and predictable with forced humor. As soon as one of the supporting characters had been promoted as a swinging bachelor came out of nowhere talking about how he found out he has a child and he believes he could really love the mother, you knew he just signed his death papers.
And what was the point of the love story? Early in the film Jake and Callie (Rosanna Arquette) exchange a sentence when they meet. Then at a bar they meet again when he is drunk and she approaches him announcing she is drunk- so the audience knows rather than have to follow her acting. Then it cuts to them dancing, making out at her home, and then waking up in bed together. That same day while hanging out on the beach, he asks if he can write her. Seriously, they got pretty serious in a matter of seconds and it made no impact to the context of the film nor was that story line touched upon again.
If you’re looking for a fun Navy film about pilots check out TOP GUN, which was also five years earlier. If this film would have been older I may have been able to cut it some slack but when military films that came out well before you, whether it be serious or light-hearted, have done it several times better, I simply don’t understand. FLIGHT OF THE INTRUDER is like a soft serving military flick to help children and the elderly digest.
BLU-RAY REVIEW
Video: This is by far the worst transfer I have ever seen. It was completely grainy throughout and the pastel colors looked muted and worn like a shirt that has been laundered far too many times.
Audio: The sound was ok but nothing outstanding when thinking of Aircrafts flying over enemy lines under fire.
Paramount Home Entertainment has announced that ROAD TO PERDITION, starring Tom Hanks, Jude Law and Paul Newman, will be coming to Blu-ray August 3, 2010. The film follows Michael Sullivan (Hanks) who works as a hitman for a mob boss. When Sullivan’s son witnesses one of his hits, he goes on the run to save his son and himself. This film received multiple Academy Award nominations and took home the prize for Best Cinematography. In my opinion, ROAD TO PERDITION has one of the best cinema-graphic scenes of all time and when you watch the film you’ll know exactly which scene I’m referring to. Special features include:
The Library: A Further Exploration of the World of Road to Perdition
Deleted Scenes (with optional commentary by Director Sam Mendes)
The Making of Road to Perdition
Sam Mendes Feature Introduction (in HD)
A Cinematic Life: The Art & Influence of Conrad Hall (in HD)
Warner Home Video has announced the recent remake of CLASH OF THE TITANS, starring Sam Worthington, Liam Neeson and Ralph Fiennes, will be released on Blu-ray July 27. 2010. The film follows the story of Perseus, a demi-god who goes on a quest to save Argos from the Kraken and Hades. Along the way he battles Medusa and other mythological beings. The original 1981 film was cheesy but known for it’s special effects, unfortunately the remake didn’t really add much in way of special effects and was still cheesy. The initial release of CLASH OF THE TITANS will include the film in Blu-ray,DVD and Digital Copy format. The special features include:
Here’s a film that has been seen by just about everyone and rightfully so. TOMBSTONE is a highly entertaining, energetic western. I almost feel overwhelmed talking about all the details that are so great and not so great along with some of the behind the scene fiascos, but I will do my best to condense and stay on topic.
Wyatt Earp (Kurt Russell) enlists his brothers to head down to Tombstone, Arizona to strike it rich. Once there, success comes quite easily but they run into a gang that seems to run the town called The Cowboys. They are identifiable by red sashes they wear and believe they are above the law. The Earps try to keep their distance but it’s finally too much and can’t sit by why The Cowboys destroy the town. A battle between the Earps along with Doc Holliday (Val Kilmer) against The Cowboys begins, including the famous OK Corral scene.
What really pulls this film through is the incredible performances. I’ll start with Kurt Russell who in a way, I think is very underrated. He plays Wyatt Earp with such quiet strength and confidence. On top of that, he apparently ghost directed the film during the firing of Kevin Jarre who wrote the script and was the original director of the film. The rumors were that Russell was a big reason the film kept afloat when Disney was threatening to shut down productions before finally bringing in George P. Cosmatos. But onto the rest of the cast which included an unforgettable legendary performance by Val Kilmer. After watching the film there is no doubt that you will be repeating lines and imitating his performance as Doc Holliday. Michael Biehn also has one his best roles as the psychotic educated quick draw Johnny Ringo, who is second in command for the Cowboys. The rest of the cast is like the who’s who convention of actors. It’s quite phenomenal and you will be surprised at who all is in this film and all do a terrific job including: Sam Elliott, Bill Paxton, Powers Boothe, Dana Delaney, Thomas Haden Church, Stephen Lang, Jason Priestley, John Corbett, Billy Zane, Terry O’Quinn, Michael Rooker, Billy Bob Thornton, Charlton Heston and Robert Mitchum as the narrator.
As mentioned before it sounds like the writer had an epic vision for the film with a bigger scale of character development, which I think would have greatly enhanced the film. But as it stands most of the characters have very small roles in the film that felt like they should have had a little more purpose. Unfortunately, the script got cut down and the film sometimes feels a little messy, jumping from scene to scene not letting anything settle in.
With that said, maybe the film flourished because of the negatives. The film is definitely sleeker, very brisk and entertaining. For the most part all the scenes are exciting besides a horseback riding love connection. The costuming is far more colorful and vibrant than one usually expects from a western but is accurate for a “boom” town like Tombstone. I can’t say enough on how enjoyable TOMBSTONE is to watch.
TOMBSTONE is a fun good-looking film with memorable scenes and lines contributed by the stellar cast. The positives definitely override some of the negatives like the lack of depth and care into the story the film provides. But if you’re looking for a good time, TOMBSTONE is your “huckleberry.” It may not be the most historically accurate western but check it out, “You’re a daisy if you do.”
BLU-RAY REVIEW
Video: The transfer was extremely strong. The cinematography of the landscape, costuming and set pieces look beautiful on the Blu-ray edition…at times. At other times, it looked grainy and oversaturated.
Audio: The sound was very clear so much that the gunshots sounded like they were coming from my street. Thankfully I know the neighbors only use automatics rather than 6 shooters.
The Making of Tombstone (27:19): These are all interviews with the cast during the making of the film. It extremely interesting to see how the final product does not correlate with anything that some of them speak about. In some cases it’s the exact opposite of what the film represents.
Director’s Original Storyboards (19:41): This is a moving storyboard of the OK Corral scene. It’s kind of neat to see the action and shot choices before they happen.
Trailers & TV Spots (12:19): These are several trailers and spots. I always find these interesting because it sometimes sheds light on how a film was advertised back when it came out and it’s usually different than what you might think and really dates the film. What was really interesting about these were all the clips that were not even in the final film.
I really don’t know what to say about Jade. It’s sort of like a lesser version of so many films done before. It resembles a poor man’s BASIC INSTINCT (written by Joe Eszterhas) with a poor man’s chase scene from THE FRENCH CONNECTION (directed by William Friedkin) in the middle of it. It is no coincidence that those two are the same writer and director of this film.
An important millionaire is murdered. The assistant DA, David Corelli (David Caruso) finds himself leading his investigative team on the case. They quickly discover a high class, underground prostitution and blackmail ring involving some highly influential people including the mayor (Richard Crenna of RAMBO fame). As they get closer, suspects keep getting murdered and the prime suspect happens to be an ex-lover and wife (Linda Fiorentino) to a close friend (Chazz Palminteri) of our protagonist. The investigation eventually leads to a car chase scene that while slightly intense becomes laughable. It goes on and on with outlandish stints which end up not having much of an impact on the story nor does the film provide much of an answer for it.
There are elements that generate intrigue and intensity but it all has been done before- ironically by the same guys. I really was hoping for so much more from Friedkin who directed THE FRENCH CONNECTION and THE EXORCIST. It’s almost insulting that he tries to pass this off as a thrilling murder mystery. Some scenes are pointless just to maybe throw the audience off a little but give no purpose to the story line. The ending is ridiculous as well, offering little resolution.
I’m not sure how David Caruso got cast as our hero but he has zero presence as a leading man. I think the film would have been better served if the roles had been switched between him and Michael Biehn, who plays a small supporting role and is far more established with a much better resume. Linda Fiorentino doesn’t quite give off the commanding sex appeal that is required and has nowhere near the presence as Sharon Stone did in BASIC INSTINCT, which came out just 3 years prior.
My favorite part of the entire film is the opening credits. During which an abrasive, heart pounding score by James Horner is played, which I believe has also been panned by most critics, was actually a strong point for me. As it’s played the camera slowly tracks its way through a mansion. We hear faint sounds of an argument somewhere inside. The camera acts as the viewer searching for the noise but gathering information as each step leads us closer. I loved the opening. It’s too bad that everything following could not keep up with the intensity and creativity of the first scene. Instead JADE follows an unoriginal formula that has been done better in almost every aspect.
BLU-RAY REVIEW
Video: The transfer is quite poor with not much of a difference. The grainy quality is constantly visible throughout the film.
Audio: Nothing too special in the sound department, pretty basic.
Universal Studios has announced that GREEN ZONE starring Matt Damon and Greg Kinnear will be coming to Blu-ray on June 29, 2010. The film follows Damon as a U.S. soldier who goes rogue and tries to discover if all the intelligence his unit has been receiving on weapons of mass destruction are false like he suspects. The film is directed by Paul Greengrass and GREEN ZONE is his third film with Matt Damon. The Blu-ray edition has a decent list of special features, and, for a limited time, will include a digital copy of the film. The special features include:
Deleted scenes
Inside the Green Zone— An exclusive behind-the-scenes look at the making of some of Green Zone’s most powerful scenes.
Feature commentary with Matt Damon and director Paul Greengrass
U-Control
Video Commentary with Matt Damon and Director Paul Greengrass
Picture In Picture – Get behind the scenes features and interviews with the cast and crew while you watch the movie!
Matt Damon: Ready for Action— Matt Damon demonstrates the grueling training regimen he used to prepare for his role in Green Zone.
Youth is definitely wasted on the young, but no matter what the age we’re all still making mistakes. Being re-released on Blu-ray, Cocoon’s heartfelt message is just as strong today as it was in 1985. The film also reminds us of what great things Ron Howard is capable of as a director.
The core of the story centers on a group of senior citizens going through the motions of retired living. Art (Don Ameche), Ben (Wilford Brimley), and Joe (Hume Cronyn) are three friends looking for the few thrills that life has left for them. The biggest thrill is sneaking off from the old folks home to swim in an abandoned pool.
The second half of the story belongs to an actor that was once a big name in the 80’s, Steve Guttenberg. Guttenberg plays Jack Bonner, a fishing guide down on his luck, until a new set of clients need his assistance. The leader of the group Walter (Brian Dennehy) informs Jack that he and his team need to rent the boat for 26 days. Both of our stories crossover when Walter and the team decide to also rent the property with the abandoned pool. However, they aren’t using the pool to have a leisurely swim, it’s a place to drop some pretty huge rocks…
That pool with rocks in it becomes something of a fountain of youth for the group, and their swimming trips become a necessity. Soon enough, the guys are strutting their stuff, causing a stir amongst the other residents of the retirement home. Joe, who was once stricken with cancer, is now in a complete remission because of the pool. Hume Cronyn delivers a performance in the film that shines the most. While Don Ameche did take home the Oscar back in ’86 for best supporting actor, it should have went to Cronyn. In fact, the dynamic that Ameche, Cronyn, and Brimley create could reflect a group of guys in there 20’s.
While one side of the story charms, the other is just downright awkward at times. Guttenberg is good at portraying the lovable goof, but not much else. When he finds out that the team he’s helping is basically a group of alien beings, stuff starts to get weird. Jack is attracted to the only female of the group, Kitty (Tahnee Welch). At first she is hesitant about doing anything with him, after all he is a different species. Later on she opens up and shows him affection in a way that is truly laughable.
Again for it being 1985, Ron Howard does great things with the film for that time. Hell, the movie also won the best visual effects Oscar. It’s great to see such a touching project from Howard. Lately with films like The Da Vinci Code, you start to wonder when Howard will go back to the meaningful dramas. To me, that’s what the guy is really golden at.
It’s hard to give a short review for a film like Cocoon. There’s one half that is a timeless story and the other that could use a bit sprucing up. Regardless, the film still tugs at your heartstrings. It teaches us that maybe the young really take what they are given for granted. In another 25 years, this film will stand the test of time and people will still be looking for the fountain of youth.
BLU-RAY REVIEW
Video: For awhile the quality was great, then when I started getting towards the end it became grainy in certain scenes.
Audio: The audio was fair. I had to crank my television up to hear some parts. Then at times it was so terribly loud I thought my speakers were going to explode.
Commentary with Ron Howard: The commentary here is solid. I enjoyed listening to Howard throughout. Then again, I’d listen to him read the phonebook.
Behind-The-Scenes (6:56): It’s a relatively short look behind the scenes but most of the featurettes were filmed 25 years ago. Nonetheless, it’s still interesting to hear the perspective.
Ron Howard Profile (2:34): While not as informative as the commentary, my favorite part has to be seeing how dorky Howard was back in 1985. Not much has changed.
Underwater Training (3:35): Honestly, this is a lot like an outdated video you might have watched at work or at school. The feature takes you through dive training and Steve Guttenberg talking dolphins.
Actors (2:52): Here you get the old vs. new dynamic, this includes the actors as well as Howard as the director. It’s great to see some of the older actors discuss their experiences with one another.
Creating Antareans (3:56): This tells you more about the Antareans, the alien group that rents Jack’s boat. The only disappointing fact was that they didn’t get more into the effects side of the creation.
Theatrical Teaser, theatrical trailer, 3 TV Spots, Cocoon: The Return Theatrical Teaser
There’s a lot going on in THE NATURAL. So much so that most critics spend their time talking about the greater message the film has about life and love and less time talking about the fact this is a baseball movie. As all sports can be a metaphor for something greater, this film uses baseball as the metaphor for any number of clichés; overcoming obstacles, doing what you love, never giving up, etc. It’s a dangerous game that director Barry Levinson plays very well and although the film explores some deep themes, it doesn’t take you completely away from the game of baseball. Robert Redford later tried to make a similar movie with THE LEGEND OF BAGGER VANCE, which debuted to mixed results. The difference between the two films is that THE NATURAL doesn’t hit you over the head with the deeper meanings.
Robert Redford is Roy Hobbs, a young, hotshot baseball pitcher that’s on his way to try out for a major league team. The hope surrounding him is contagious and Levinson does a great job of getting the audience excited for him. Within a short time, we’re captivated by him and we’re fully invested in his plight. So when he gets shot, effectively ending his pitching career, we feel for him. This is a big accomplishment for the film and it carries us into the next chapter.
Another great decision by Levinson is to skip over the heartache and pain associated with the shooting. That’s not the story and a lesser director could have gotten lost in that dramatic event. Instead, we skip over and pick up with a much older, wiser Roy Hobbs, now an unknown outfielder for a struggling team. But in the back of our heads, we can’t help but feel sorry for him, despite his ability to succeed. We know what he could have been and until the extremely fulfilling ending, it’s hard to get over it. The way he handles the adversity and the setback is where the deeper meaning comes in. It’s there and I’m sure it means different things to different people. However, to me the film is always about chasing your dreams and putting your past behind you. But that’s just one of many messages the film has to offer.
Robert Redford doesn’t need anyone to point out his greatness or screen presence, but I can’t imagine anyone else carrying this film the way he did. Redford, more than any other actor, manages to say a lot without saying anything at all. A look, a sigh or a gesture from Redford can do more to develop a character than many actors can do with an entire monologue. That served him well in this as he didn’t really have a lot of dialogue. It didn’t hurt that he had some great supporting characters around him, most notably Wilford Brimley, whose turn as the washed-up coach is one of the most memorable in all sports movies. As a kid, I was disappointed when I found out my little league coach wasn’t the same guy peddling oatmeal.
There’s a reason THE NATURAL is one of the best sports movies of all time. It takes everything that’s good about sports and wraps it into an uplifting story about the human spirit. But even if you don’t care about the deeper themes, this is still an exciting baseball movie with one of the best endings in movie history.
BLU-RAY REVIEW
Video: Even with Blu-ray, I don’t expect much when I put in an 80′s catalog title, but this one surprised me. The video was astonishing given the age of the film. I’ve seen this probably a dozen times and I never realized how much I was missing.
Audio: The audio quality was on part with the video in that it’s wonderful. THE NATURAL never sounded so incredible.
When Lightning Strikes (49:55): This is a great addition to the Blu-ray and covers just about everything you wanted to know about the film. It touches on several aspects and even goes through some baseball history to put the film into perspective. Anyone that enjoyed the film should check this out.
Clubhouse Conversations (15:24): This is a little on the fluff side, with several diverse people from different perspectives talking about the greatness of baseball. There are a few baseball players, announcers and crew members that show up to talk about their love for the game.
A Natural Gunned Down (17:06): Eddie Waitkus was actually a real life ball player that got gunned down by an obsessed fan. I found this to be fascinating, if only because I had never heard his story before.
Extra Innings (7:11): This is split into four parts, focusing on various, trivial aspects of the film. They give Ryne Sandberg (former Cubs player) a couple of minutes and discuss how he plays like Roy Hobbs. I didn’t really follow him as a player, but I wouldn’t call him “Roy Hobbs like”.
Knights in Shining Armor (9:17): Although a little on the cheesy side, this featurette compared the film to ancient mythology. I’m not sure I agreed with their assessments, but it was fun to watch.
The Heart of the Natural (44:06): Barry Levinson and Cal Ripken Jr. sit down and talk about the film and the greatness of baseball. By this time, I had heard everything before, so I found this to be a bit overkill.
The Sony Pictures Home Entertainment film THE LAST STATION will be coming to Blu-ray on June 22, 2010. The film follows the final year of famous Russian writer Leo Tolstoy (Christopher Plummer). During the final year his wife, Sofya Tolstoy (Helen Mirren), tries to regain the rights and property of Tolstoy’s great works, which she believes should be left to her instead of to the people of Russia. Helen Mirren and Christopher Plummer both received Golden Globe and Academy Award nominations for their roles in THE LAST STATION. Special features for the Blu-ray include:
Back in the 90s there were a slew of horror/sci-fi films that were overly excited to use some of the new digital technology, which seemed pretty advanced at the time. However, besides JURASSIC PARK many just threw them together without perfecting to create a cool monster. THE RELIC definitely is one of those ‘B’ horror films that think it’s better than it is.
The story begins with a strange empty crate, received from a missing researcher in South America at Chicago’s Museum of Natural History. At the same time mysterious gruesome deaths keep happening at the museum ever since the crate arrived. Police investigator Lt. Vincent D’Agosta (Tom Sizemore) works with Dr. Margo Green (Penelope Ann Miller) from the museum to figure out the cause. They must work quickly because a prestigious benefit reception with the mayor is being held at the museum. Unknown to all of them, except the viewer, a large creature is roaming the premises.
The lighting and black levels are way too dark. You can barely see what is happening half of the time. I understand wanting the look to be more natural and scary but if we can’t see what’s going on as a viewer it’s almost pointless. I will hand it to director Peter Hyams; he seems to know how to make jump moments in a film. THE RELIC is riddled with cheap scare spots but it works. It’s not until mid film where the creature is revealed that the film loses any intensity or scare, but before that it was really on track. Hyams definitely sets up unlikable characters for audiences to enjoy watch get dismembered, but it’s all very old and predictable. It’s almost like he thought of cool scenes or images that he could film then worked the story around that. Many times the creature would show up randomly for a kill spot then leave again.
The two leads, Tom Sizemore and Penelope Ann Miller, do an ok job but they really don’t have much to work with. They are both used to supporting roles so it was nice they got their shot as a more leading character in a film, and this was probably about the best caliber film they received. You put Tom Hanks and Julia Roberts in these roles and the film is even worse because you expect it to be better with such high profile stars.
So what we have here is a typical horror movie that runs through clichés only this time the monster has some CG moments that reminds you, you’re watching a movie. A few jump moments tied nicely to a few great sound cues and ta-da you got yourself a horror movie. A typical, mediocre horror movie.
BLU-RAY REVIEW
Video: 1080p High Definition 2.35:1. Like I said before, extremely dark. This is not the Blu-rays fault it is the director’s choice. Just make sure you turn off all your lights, otherwise you will not be able to see what is happening.
Audio: 7.1 DTS-HD Master Audio. Great sound. The creature had a neat wheezing that really comes through with the surround sound in moments well before he has approached. The base booms through for some of the jump moments. My one complaint is all the cool loud sounds seem to overpower any dialogue; levels seem a little too soft after following the overpowering sound and music of the creature.
Commentary with Peter Hyams: He gives a great technical commentary. He actually discusses his reasoning for some of my complaints about the film. Specifically he addresses his poor lighting choices. Although I disagree with Hyams, I must say I respect him. He is open and honest and a guy that loves films. He also talks a little about ALIEN and JAWS, which is a surefire way into my heart.
The Filmmaker’s Lens: An Interview with Peter Hyams (10:10): This is a short interview with the director. He talks more about him becoming a filmmaker and artist and less about the movie, which is definitely a pro. I found him quite insightful and interesting but he does mention most of these things in the audio commentary as well.
Trying to sit down and write a review for AVATAR, four months after it came out at theaters, makes me sympathetic to anyone that tried to write a review for TITANIC in April of 1998. Much like the sinking boat, AVATAR is suffering from the overhype machine and people are getting sick of hearing about it. When I saw AVATAR at theaters, I was blown away by the 3D and how great the film was. I truly loved it and felt that it was one of the best movie going experiences I’ve ever had. But now, it has a “been there, done that” kind of feel to it. And I’m not going to lie to you; the lack of 3D really does change the perspective of the film.
So, you’ve read that AVATAR is basically THE LAST SAMURAI, which is basically DANCES WITH WOLVES and there’s no arguing the lack of originality in the story. Cameron didn’t write ‘War and Peace’ here, he just took a tried and true story and made it his own. I don’t fault him for that because the story is great and it’s easy to get the audience emotionally involved with an innocent people as they’re being ambushed by the more powerful, evil people. The simple story helped us accept the blue Na’vi and made the whole story more real. Original it was not, but it was definitely a strategic move on Cameron’s part. While we’re getting mesmerized by the effects and 3D, we find ourselves actually caring about the characters.
But the combination lacks a little bit in 2D. Now we focus more on the story and the acting and we don’t have the extreme grandness of Pandora to sweep us away. That makes certain scenes a little less forgiving and some of the CGI problems more noticeable. For example, the dialogue between Jake and Neytiri in the beginning was tough to stomach without trees and flowers coming to life and distracting you from the cheesy dialogue. Now, it’s just two blue people that can’t seem to hit their marks.
However, the action is still fantastic and the 3D towards the end became less and less anyway, so it won’t be missed during the final battle. I still found myself enthralled with everything that was going on and it was just as intense as it was the first time around. Cameron is a master of the big finish and whether you watch AVATAR in 2D or 3D, the finale is a fun ride.
I feel like I’m being hard on the film, but if you had talked to me in December of 2009, I would have given you an hour-long diatribe about how great AVATAR is and would have encouraged you to go see it. But that was in 3D Imax and the film loses a little luster on a smaller screen. I will say that if you don’t have a big screen HD TV, then you shouldn’t even bother with this. For fun, I popped it into a few different sized TV’s and each time I went smaller, the movie lost a lot of its “uumph”. Much like AVATAR was ahead of its time when it was released at theaters, it seems to be ahead of it’s time on Blu-ray.
BLU-RAY REVIEW
Video: You already know that there’s a super, uber-edition of AVATAR that’s coming this November, so the real question is; “how does it look”. I can safely say that this is an amazing picture. It is absolutely stunning and it’s clear that what they didn’t include in special features, they made up for with video and audio quality.
Audio: The audio is also incredible. I feel confident recommending this as a purchase, just to use as a reference disc to show off to your friends. If you’ve poured some money into your home theater system, don’t hesitate to check this out.
Much like T-Bone Burnett’s work on O’ BROTHER WHERE ART THOU prompted millions of people to run out and buy/download ‘Man of Constant Sorrow’, I’m sure his work on CRAZY HEART will sell more than a few soundtracks. The music in the film is great and has already made its way onto my iPod. Unfortunately, I can’t say the movie had the same impact as the overly linear telling of the film failed to match the remarkable performance of Jeff Bridges and the great music of Mr. Burnett.
Bridges is Bad Blake, a former country music superstar that now tours bowling alleys and dive bars in the middle of nowhere. He has no money and when he gets a little cash, he blows it on whiskey. While working with a fellow musician, he meets Jean Craddock (Maggie Gyllenhaal) who is working on a story about Bad for the local paper. They start up a romance as Bad starts to reconnect with his former protégé Tommy Sweet (Colin Farrell). But Bad can’t stay away from the booze and his addiction continues to destroy his life.
Jeff Bridges has received a lot of attention for his great turn as Bad Blake, but I felt that Maggie Gyllenhaal also turned in a wonderful performance. Her relationship with Bad Blake was a tricky thing to pull off given the age difference and the contrasts between the two characters. But she looked at Bad with a longing and adoration that clearly defined how she could fall for him and the eventual heartache she felt after he let her down was all shown in her eyes. I respect Maggie as an actress, but I don’t think I’ve ever been captivated by one of her performances to the extent as I was in this. She did a wonderful job and her performance carried the relationship between Jean and Bad.
Although Bridges and Gyllenhaal are great, the music is the real star of the film. It’s a good thing T-Bone Burnett was involved and that the music was enjoyable; we heard a lot of it throughout the film. It did help to move the film along and I liked watching Bridges and Farrell belt out the songs. But there were times I felt the film relied too heavily on the music and I would have liked to see more time with Bad dealing with his issues rather than singing about them. Of course, that didn’t stop me from buying the soundtrack right after I finished the film.
As much as I enjoyed the performances and the music, I can’t help but walk away from CRAZY HEART a little disappointed. I wanted a deeper meaning and some exploration of more complex themes, but at the end of the day, this is just a movie about a former country music star struggling with alcoholism. Without two incredible performances, the film would have been instantly forgettable. That’s not a bad thing, but the movie experience was a little underwhelming. However, the soundtrack to the film is a completely different story.
BLU-RAY REVIEW
Video: This is not the best transfer we’ve seen from Fox and it had a problem with the black levels and over saturation during the darker lit scenes. It wasn’t horrible by any means, but for such a dark film, I wanted a better presentation.
Audio: The audio was fine and I’m sure the extended musical performances will get played more than once.
Deleted Scenes (28:21): The extended music sequences are a joy to watch, although I wish they would have been in HD. The deleted scenes were pretty boring with the exception of one that furthered the story of Bad trying to reunite with his son. Seeing that, it made it feel like that was originally a bigger story than what it turned out to be.
What Brought Them to Crazy Heart (3:01): Bridges, Gyllenhaal and Robert Duvall briefly discuss the film. This was way too short to be relevant.
The world’s favourite chipmunks, Alvin, Simon and Theodore are back for some more time in the spotlight as they take on their greatest challenge yet: their first day of school. The principle is glad to have them in hopes that they’ll win this year’s singing contest for twenty-five thousand dollars to save the school’s music department. Winning might not be as easy as they think though as the chipettes join the party and give the boys a run for their money.
Growing up I was a big fan of both Saturday morning cartoons as well as after-school cartoons. Everyone knew who Alvin and the Chipmunks were and as a kid, I dug them. Their Christmas special was also a big event as the season neared (who could ever forget the lyrics to the hula-hoop song once you’ve heard it, it stays with you for life), and I will even admit to owning THE CHIPMUNK ADVENTURE where the guys and gals race around the world to collect dolls full of diamonds. But that was then and this is now. I can’t say I was even remotely enticed to watch the first live-animated chipmunk movie and though this sequel wasn’t the most awful thing I’ve had to watch, it most certainly wasn’t for me.
Now before you think I’m hating on the fellas, let me explain. This whole “Saturday morning cartoon phase” started with INSPECTOR GADGET, another cartoon I enjoyed as a kid. The problem with that film, GARFIELD and the chipmunk movies is that they came about a generation too late. If Hollywood had created these films when the cartoons were popular I wouldn’t have such a bone to pick with them, but seeing as how they waited until these characters were all but forgotten makes me angry. Sure, Hollywood’s lazy, running out of ideas and desperate for anything that’ll make a buck, but these films stink of sell-out and make me more angry than anything else.
Don’t get me wrong though, they’re cute and cuddly looking and sure to win over the hearts of children everywhere, regardless of whether or not they’ve heard of them before and that’s one area this film excels. The animation is extremely well done as is the way with which the actors respond to them, and Blu-ray make them look so lifelike you almost want to reach out at the screen to touch them. I still can’t believe Justin Long’s shelling out the vocals for Alvin and I feel infinitely bad for Jason Lee as it pains me to see him go out like this (and to add insult to injury he’s only in the film for about five minutes). Films like this are where actors and actresses go to die most days, and this makes me think of Bill Murray’s line in ZOMBIELAND where he says his only regret is GARFIELD.
ALVIN AND THE CHIPMUNKS: THE SQUEAKQUEL would have been cool beans…if I was ten. The three disc Blu-ray package is a nice one though as I gave the digital copy to my girlfriend (who’s still very much a kid at heart) to watch and the DVD copy to my niece and nephew who watched it three times back to back loving every second. If you’re a kid, there’s hope for this movie, so I’d say it’s a safe bet to buy if you have a family to share it with. That said, for the average moviegoer like myself there’s really nothing to see here.
BLU-RAY REVIEW
Video: 1.85:1 Widescreen in 1080p with AVC codec. The animation is top notch and puts up big numbers in the cuteness category, but kids can’t really tell the difference between DVD and Blu-ray.
Audio: 5.1 DTS-HD in English, French and Spanish with the same subtitle options. The singing sounds great, but I can’t believe they used that Beyonce song “Single Ladies”. I hate that song.
Munk Music Machine (10:57): This is a complete ensemble of all the musical numbers performed by the chipmunks and the chipettes from the film for those who just want to rock.
Music in a Nutshell: Song Trivia (128:32): A cute little trivia game that plays along with the film like a commentary to test your knowledge of the songs featured.
A-l-v-i-n-n-n-n!!! Album Maker (NA): Another fun mini game for all the aspiring musicians out there that lets you create your very own chipmunk music label.
Munking History: 50 Years of Chipmunk Mischief, Mayhem and Music (9:21): Here we get a montage of all the chipmunk’s greatest hits from the past fifty years from the original cartoons, the Christmas special and all the movies from then and now.
Meet the Chipettes (8:37): Here we have the real life chipette counterparts giving us their impressions of the chipette characters and preaching a whole lot of girl-power. I think they were a smart addition to the film.
Rockin’ Rising Stars (6:21): Here we get a closer look at the guys and gals that rocked out for the film; Honour Society and Charice Pempengco. That chick has one mean set of vocals.
Music Mania (9:04): This feature feels like a bit of a filler as it highlights the final music sing-off at the school which was already present in the above Munk Music Machine.
The Chipmunks: Behind the Squeaking (9:40): Here we get a mocumentary (behind the scenes look) at what Alvin and the boys are like when the cameras are off and they’re just chillin out at home. I laughed a couple times.
A-NUT-omy of a Scene (2:39): The animation secrets are revealed as the production team introduce us to the stuffed dolls used to represent the chipmunks and explain how it all works. It’s better than staring at nothing I suppose.
Meet the Stuffies! (3:09): Here is another look at the dolls used as prop chipmunks. This was pretty much all covered in the previous feature. Lame.
Shake Your Groove Thing with Rosero (8:59): Here we have dance choreographer Rosero and his crew who show us how they came up with all the film’s cool moves.
Music Videos (17:48): And here we got one more rehash of all the musical numbers from the film introduced in “much music video” fashion with an optional sing along. Third time’s a charm I guess.
Previews: There’s also a handful of trailers, a Blu-ray commercial as well as a DVD and Digital copy of the film.
THE ILLUSIONIST, starring Edward Norton, Jessica Biel and Paul Giamatti, will be released on Blu-ray June 8, 2010. You may remember this movie as being one of two films about magicians, neither of which did very well at the box office. THE ILLUSIONIST and THE PRESTIGE (the one with Christian Bale and Hugh Jackman) were release about one month apart. It’s debatable as to which was the better film as neither of them were anything special. The Blu-ray also doesn’t appear to offer anything spectacular, but here is a list of special features:
As I’ve debated film with various critics over the years, I’ve found that there’s one movie, more than any other, that tends to divide people and elicit strong emotions on both sides. That movie is the 1998 summer blockbuster ARMAGEDDON. There are people that absolutely despise this film and even though I’m not one of them, I can’t say I disagree with their opinion. There’s no reason to like this movie; the plot is ridiculous, the acting is average, the directing is overly sentimental and stylized, and the list goes on. But at the end of the day, I still love this film.
Although the “plot” (I can’t say that seriously when talking about this movie) has been well debated and discussed over the years, the basic gist of it is that there’s a giant meteor heading towards earth and the only hope for survival is to send a team to drill into the center of the meteor, splitting it into two pieces and sending the pieces away from earth. That alone is absurd, but to make it worse, NASA decides to send oil drillers up into space rather than astronauts. Because why wouldn’t they?
So you may have already noticed by my high rating that I really like this film. So the pressure is on me to try and justify why. The word “fun” comes to mind, but that diminishes the film a little bit. Yes, it is fun and yes, we need mindless summer blockbusters just as much as we need historical dramas and animated kids movies. But Michael Bay managed to create characters that the audience not only can relate to, but that we genuinely care about. I rode the wave of emotions along with Harry’s crew as they achieved success and experienced loss. It was intense and although Bay has plenty of shortcomings, he should be commended for crafting the film in a manner that captivated the audience to the point they forgot how unbelievable the plot was.
In typical Michael Bay form, there’s an overly sentimental scene towards the end that features Mr. Affleck bursting out in tears and this scene is usually what people point to when trashing the film. Even Affleck’s buddy, Kevin Smith uses it to poke fun at Ben on many occasions. If you walk into a room and see this scene by itself, it will make you laugh at how bad it is. But in the context of the movie, I always find myself caught up in the moment and getting choked up along with him. There’s something about it that just really fits into the movie and even though every bone in my body is saying it’s ridiculous, I still find myself loving it.
I remember when this originally came out at theaters; I took the day off from my summer job to catch an early showing. I loved it then and I continue to love it today. I know the film has problems and a plot that makes me laugh just thinking about it, but Bay managed to tell a story with great characters and great style that made up for it.
BLU-RAY REVIEW
Video: For those that own either version on DVD, you know that ARMAGEDDON was never presented in an anamorphic widescreen video transfer. So this is the by far and away an upgrade over anything you’ve ever seen. The video is just beautiful and it was great to see that the transfer was done so well.
Audio: We’ve had decent audio transfers before, but this once again is a drastic improvement. The dialogue and the Bay-sized sound effects boomed throughout.
Aside from a music video, this disc is completely bare bones. The Blu-ray gets a “4″ because we know what they could have included on this transfer and didn’t. I don’t know if there were some licensing issues with the former Criterion release, but at least a couple of featurettes or deleted scenes would have been nice.
Martin Scorsese’s psychological thriller SHUTTER ISLAND will be released on Blu-ray June 8, 2010. The film has a stellar cast that includes Leonardo DiCaprio, Mark Ruffalo and Sir Ben Kingsley and follows two U.S. Marshalls as they investigate how an inmate has escaped from an island full of the criminally insane. Along the way they discover more mysteries and secrets than they ever imagined. SHUTTER ISLAND has been compared to films from suspense master Alfred Hitchcock and is a nice throwback to thrillers of the past, where the buildup is just as intense as the end scene. The Blu-ray will be packed with features that include:
I haven’t seen THE THOMAS CROWN AFFAIR since it came out and I was surprised at just how much I liked it. It came out in 1999 which in my opinion is one of the best year of film (AMERICAN BEAUTY, FIGHT CLUB, MATRIX, SIXTH SENSE, etc.), so maybe this got a little lost in the shuffle with all the great movies. Believe me this is another film to throw on the list of good movies from that year.
The film begins and ends with an elaborate art heist. Great bookends to keep the audience interested while having an entertaining story in between. Thomas Crown (Pierce Brosnan) is a very successful adventurous multi-millionaire. He steals priceless paintings mostly for the thrill but is a very generous donator to counteract his thievery. Catherine Banning (Rene Russo) is an insurance investigator who will catch her man by any means necessary. The cat is out of the bag right away. She knows it’s Crown and he knows she knows, but the fun is in their playful cat and mouse games. She’s waiting for him to slip up on to his wiley ways and he enjoys letting her be as close as possible without giving it up.
The film is directed by John McTiernan (DIE HARD, PREDATOR, THE HUNT FOR THE RED OCTOBER). He does a magnificent job. This is very cleanly directed with a steady pace and great color scheme throughout while shooting at some beautiful locations. But the film owes most of its credit by relying heavily on Pierce Brosnan and Rene Russo. If they did not have such good sexual smug chemistry the film would have fallen apart. I like both of these actors quite a bit. Brosnan does play a similar Bond type of character but I think he will become one of those great aging actors, earning more respect later on. Russo seems to have disappeared from film and I’m not sure why. I thought she was a fantastic addition to the LETHAL WEAPON series and she shows you can be smart, talented and sexy. At first I thought she was an odd casting choice but after watching the film I think other actresses wouldn’t have been able to hold their own as strongly, mixing the power and vulnerability.
The ending is a fun entertaining heist, but if thought about too much it really only works in film. The viewer keeps observing from a security camera point of view which Crown uses to his advantage by hiding under a hat, however if one were there in person, as security would be, I believe catching the criminal would be quite a bit easier to distinguish, since a hat wouldn’t cover the face. Nonetheless, a terrific, well put together little film that is a joy to watch. It made me appreciate art, but mostly made me want to live the life of a playboy multi-millionaire.
BLU-RAY REVIEW
Video: 2.35:1 1080p High Definition. The film looks great. The film uses many vibrant striking colors that really pop in the Blu-ray that I hadn’t noticed before.
Audio: The sound is kind of lackluster. True the film isn’t really set up for any big sound pieces but even the music cues were a little weak.
There are zero special features on this Blu-ray edition. It does come with the DVD version that has the original commentary track. But other than the picture looking great this Blu-ray really fails to make the upgrade worthwhile.
Tim Burton’s whimsical take on the classic tale ALICE IN WONDERLAND will be released on Blu-ray June 1, 2010. The film follows 19-year old Alice as she returns to Wonderland and encounters her old friends and foes, including the awesome Johnny Depp as the Mad Hatter, Helena Bonham Carter as the Red Queen and Anne Hathaway as the White Queen. Sadly, this newest take on ALICE IN WONDERLAND will not be coming to Blu-ray in 3D, but will still include enough special features to keep you entertained until Disney decides to release the 3Dversion. Special features include:
To simply say that FANTASTIC MR. FOX is fantastic is a bit of an understatement. Most viewers might know director Wes Anderson because of his quirky, unique films like RUSHMORE, THE ROYAL TENENBAUMS, and THE LIFE AQUATIC WITH STEVE ZISSOU just to name a few. Fantastic Mr. Fox is a different adventure for Anderson. This time he dives into the world of a classic children’s book from Roald Dahl. Using stop motion animation, Anderson goes beyond the book, but keeps the spirit within its’ original pages.
From the first scene, I was immediately filled with whimsy. Yes, I used the word whimsy. It’s hard to use ordinary words with a film that is extraordinary. When we meet Mr. Fox, he’s charmingly posed at the top a hill listening to music eating an apple under a tree. This immediately gives the best first impression of the character. Then when George Clooney’s voice comes out, it’s certainly a perfect match.
The film may center on a fox family, but the story is relatable to anyone. Mr. Fox (Clooney) wants nothing more than to give his wife (Meryl Streep) and son (Jason Schwartzman) the best life possible. When the foxes move under a shiny new tree and nephew Kristofferson (Eric Anderson) joins the clan, that’s when the trouble starts. Mr. fox chooses a home that has three farmers in his backyard: Boggis, Bunce, and Bean. Each farmer has something that appeals to Mr. Fox’s sneaky old ways. What starts out as just one job, turns into many dangerous jobs that turn Mr. Fox’s life upside down.
It’s delightful to see an animated film using stop motion animation in a world dominated by CGI, 3D, and motion capture. I thought it gave the story an advantage as well as something special. As I said before, this was a perfect way to take the tale from book to big screen. In the special features, it’s mentioned that Dahl’s book is “very English” and this feels that way. When watching I often thought back to Wallace and Gromit. Fantastic Mr. Fox doesn’t have the claymation or the accents, but it doesn’t need it. Anderson has created a world that is special and of its own.
I really loved watching the life of Mr. Fox and it’s so much more than that. Each of the characters bring something fun to the story. The dynamic between Ash and his cousin Kristofferson feels like one of a typical Brother relationship. Ash is trying to be grown-up man fox while comparing himself to his outstanding cousin. Mr. Fox takes an extreme liking to Kristofferson because he is every bit what he was like when he was young. However, the Father/Son bond cannot be broken and even though you only are hearing their voices, Schwartzman and Clooney are convincing in these roles. I was also pleased with the voice work of Murray, Dafoe, and Streep who sounds like honey.
The script that was written by Anderson and partner Noah Baumbach is excellent. It’s a story you never grown tired of at any point. One of my favorite devices in the film has to be replacing actual cuss words with the word cuss, for example, “clustercuss”. There’s also a very adorable signature sound that Mr. Fox uses when he exits a room. The soundtrack is what you would expect from a typical Anderson film, except this time throw in some Beach Boys, Jarvis Cocker, Rolling Stones, and a beautiful score from Alexandre Desplat. Honestly, this is a journey I’d take over and over again. I watched the film at least 3 or 4 times after receiving it. Is it a bit much? Not at all. If anything, the film gets better and better with each viewing. There’s magic when you watch Fantastic Mr. Fox and it might be because even if it is simple, it’s a quote, unquote fantastic film.
BLU-RAY REVIEW
Video: Video quality was excellent. Everything was crisp and clear. It really felt like the scenery was leaping off the screen. The quality of the disc was something I was really impressed with. The aspect ratio is 1.85:1 Widescreen.
Audio: The sound quality was pretty decent. At times the music tracks were a lot louder than the actual dialogue. At the beginning the volume went up a tad. I had a difficult time hearing what Mr. Fox was listening to on his pocket radio. The master audio quality is 5.1 DTS-HD.
Making Mr. Fox Fantastic: The Look of Fantastic Mr. Fox (44:48): The making of is broken down into different sections: From Script to Screen, The Puppet Makers, Still Life (Puppet Animation, and The Cast, Bill, and His Badger. This really gives a detailed perspective on every aspect when it came to making the film. You get to see the detail that Anderson really went into when it came to staying to true to Dahl, as well as adding personal touches of the author himself in the film. Seeing the way the puppets are made is also quite interesting. The most amusing part has to be Bill Murray and George Clooney script reading a scene where they are fighting and making animal noises. Really any candid moment with Mr. Murray is wonderful.
Fantastic Mr. Fox: The World of Roald Dahl (3:00): This feature goes into the world of author Roald Dahl. It talks about Wes Anderson’s stay at Gypsy House (Dahl’s home) while writing the script. Dahl’s wife, Felicity Dahl gives her own praise of the film as well as what her husband would have thought.
The Beginners Guide to Whack a Bat (1:12): This is a short step-by-step instruction video using most of the footage contained in the film.
Fox Pictures has announced PERCY JACKSON AND THE OLYMPIANS: THE LIGHTNING THIEF will be coming out on Blu-ray June 22, 2010. This is a popular kids book by author Rick Riordan and brought to the big screen by director Chris Columbus. It follows a young demi-god who goes on a quest to find Zeus’s stolen lightning bolt. As you can see in this review, the film was average with some decent special effects but could have been so much better with less cheesy dialogue. The disc will have some special features along with a digital copy of the film. The special features include:
Update:Twentieth Century Fox Home Entertainment has changed the release date of this film to June 29th.
Deleted Scenes
Featurettes
Secrets of the Gods
The Book Comes to Life
Camp Half-Blood
On Set with Brandon T. Jackson
Meet the Demi-gods
Composing for the gods: A Conversation with Christophe Beck
Yes, it really has been 15 years since MGM Studios gave us the not-so spectacular film SHOWGIRLS, the movie that moved Jessie Spano (Elizabeth Berkley) from Bayside High School to the Las Vegas stage. MGM has announced that the “15th Anniversary Sinsational Edition” of SHOWGIRLS will be released on Blu-ray June 15, 2010. The “Sinsational Edition” (clever, yes?) will contain the unrated, NC-17 version of the film, which is a whopping 3 min. longer than the original theatrical version. Even though this film didn’t do well at the box-office and was unsuccessful among critics it has gone on to being somewhat of a cult classic. Other special features include:
Pole Dancing: Find Your Inner Stripper
Lap Dance Tutorial Featuring the World-Famous Girls of Scores
“The Greatest Movie Ever Made”: Audio commentary by Showgirls connoisseur David Schmader
Sony Pictures Home Entertainment has announced that the film YOUTH IN REVOLT, starring Michael Cera, will be arriving on Blu-ray June 15, 2010. The film is based on the cult novel of the same name by C.D. Payne and follows a boy who channels his bad boy alter ego to win the girl of his dreams. The most impressive special feature looks to be the commentary with Michael Cera which will probably be just as entertaining as the film itself.
The Blu-ray appears to have a decent line-up of special features which include:
I love action movies. They are the genre I go to when I need a pick-me up; just add a ninja and some martial arts to my action movie and I’m in heaven. Martial arts get a lot of love in the action genre, but there are only a handful of decent ninja movies. So I was very excited to see a film like NINJA ASSASSIN get made because the trailers made me think the movie was going to sway to the extreme cheesy side or be a really decent ride. Thankfully, director James McTeigue was able to give us a fun, updated ninja movie with only a minor cheese factor.
Raizo (played by Korean pop star Rain) is an orphan who is recruited into the Ozunu clan and trained to be a ninja. After one of his first kills he turns against the clan and his old master and teams up with a Europol investigator (Harris) who is also tracking the ninja activity in the area. The story follows the two on his mission for revenge and her quest for answers.
The story is the weakest link in this film as it has been done before. Had it not been for the intense action sequences and updated technology it would have been straight out of the 1980′s. That being said, it was interesting enough to keep the attention but that was due in large part because of the flashbacks of ninja training that were interspersed through the story. Although there was no actual “training montage” in the film, there was ninja sparring sequences that were quite enjoyable to watch. Had these not been included, the movie would have dragged on, plus the audience got to see a progression of Raizo’s character and why he turned against his clan. As stated, this was the weakest part of the movie and better dialogue throughout would have done wonders.
Another problem was the extreme use of “blood squirtage” (I’m sure there’s a more technical term for this but you know what I mean). In a ninja movie there is a prerequisite amount of blood that needs to be spilled for the film to be believable. Unfortunately, NINJA ASSASSIN took this a little too far and there were many scenes that were a little much and unnecessarily gratuitous. True, there is a lot blood released when there is a decapitation, however, I don’t need to see all of it unless it adds to the story.
Overall, I really enjoyed this film and was pleasantly surprised at how a pop star could pull off such a role. I was quite impressed at how Rain was so believable as an assassin and wonder if he could maybe give some American pop stars a course on how to have a successful crossover career. This movie was a lot of fun and worth the viewing if you enjoy some great weapon handling, have an affinity for ninjas and can stomach a serious amount of blood.
BLU-RAY REVIEW
Video:I’m always worried when I sit down to watch a movie that’s primarily filmed at night as black levels are the easiest aspect of a transfer to mess up. But I’m happy to say that Warner Brothers did a fine job here and the video looked beautiful.
Audio:Where the video excelled, the audio took it to a new level. The audio sounded magnificent and really made the film come alive.
Deleted Scenes (7:42): These were more along the lines of extended sequences and really didn’t add anything extra to the film or storyline. There is a little bit more information in the story of Naomie Harris’ character and the Europol investigation but nothing special.
The Myth and Legend of Ninjas (18:55): This is a short featurette about the history of ninjas and how they are a part of our culture today. It’s actually pretty interesting and worth a watch but it does have a lot of film clips. A nice little history lesson with some neat action sequences.
The Extreme Sport of Ninja (10:07): Cast and crew interviews mixed in with movie clips. Entertaining to watch just because you get to see a lot of fighting and behind the scenes training. It’s short but action-packed.
Training Rain (9:52): The audience gets to watch all the training and physical regimens they put Korean pop star Rain through. I find this guy fascinating and thought he did a great job in this film so this featurette was very intriguing and an excellent watch.
20th Century Fox Home Entertainment in partnership with MGM, will be releasing the MAN WITH NO NAME TRILOGY on Blu-ray June 1, 2010. The trilogy will consist of three Westerns starring Clint Eastwood and directed by Sergio Leone, the movies are: THE GOOD THE BAD AND THE UGLY, A FISTFUL OF DOLLARS and FOR A FEW DOLLARS MORE. There are no release details right now but it is assumed that the extras found on the DVD special editions will make their way to the Blu-ray edition as well. This all comes as Hollywood celebrates Clint Eastwood this month and his success as actor, writer, director and composer.
GENTLLEMEN BRONCOS officially receives the 2009 award for best preview to worst movie ratio. The way the preview was put together, I found myself really excited about this film and I was anxious to sit down and watch it. But the actual act of watching it was excruciatingly painful. So I give a big “bravo” to the editors of the trailer for doing so much with so very little. The saddest part about this film is that it felt like they had a really funny story, but decided to destroy it in an attempt to make it quirky.
Michael Angarano is Benjamin, a shy, home-schooled teenager that likes to write science-fiction stories in his spare time. He gets the chance of a lifetime when he submits his latest work in a contest to be judged by famed science fiction writer Ronald Chevalier (Jemaine Clement). But Chevalier is struggling to come up with ideas of his own and in an act of desperation, steels Ben’s idea and submits it to his publishers as his own. Meanwhile, Benjamin allows Lonnie, a local filmmaker played by Hector Jimenez, to make a movie of his story, which Lonnie proceeds to destroy on every level.
Poor Ben can’t catch a break and neither can Michael Angarano. I’m a big fan of Angarano (I’d like to see him as Spider-Man), but the kid can’t choose a decent movie to save his life. He did a fine job here, but director-writer Jared Hess was obsessed with making this like NAPOLEAN DYNAMITE and altered the story too much in order to fit that style. The difference is that his previous film had a story that could only be filmed in that offbeat manner, but Broncos never had that tone and so the filmmaking and the story were constantly battling each other. The result was an awkward mess of a movie that was neither funny nor quirky. I did appreciate the cut scenes of Sam Rockwell acting out the story that Ben wrote. It was horribly bad, but that was part of the joke. However, a better joke would have been to make the story funny.
That’s not to say that this script would have been better off in the hands of another director, because it wouldn’t have been. Too much time was spent on aspects of the story that were neither interesting nor humorous. The highlight of the film was the relationship between Benjamin and Chevalier, but Chevalier had maybe 15 minutes of screen time and the rest of the film was focused on other character relationships that we didn’t care about. Jemaine Clement has proven his comedic abilities on HBO’s ‘Flight of the Conchords’ and should have been given more room to shine in this. He had a funny character and there were numerous possibilities between his character and Benjamin. The thought of a published writer stealing the work of a teenager is a good premise, so it’s very disappointing that it was executed so poorly.
I wish I could say there was at least one redeeming quality to GENTLEMEN BRONCOS, but I cannot. I’m a fan of Jemaine Clement and he provided some mild chuckles, but it was too little and underutilized. Jared Hess can do better than this, but if he insists on making every movie a slightly varied rendition of NAPOLEAN DYNAMITE, I’m afraid his film career will be short lived.
BLU-RAY REVIEW
Commentary with Jared Hess, Jerusha Hess and Munn Powell: Wow, this commentary was bad. I’m not just saying that because the film was bad, but these three weren’t enthusiastic at all about this film and provided no energy or liveliness to the track at all. There were several dead spots and few interesting tidbits.
Deleted Scenes (5:53): These are just as bad as the movie and added nothing extra to the film. Boring and a waste of time and were all a bit short. We get a bit more of Ms. Coolidge and some more from Sam Rockwell but nothing special.
Outtakes Reel: A Buttload of Keepsakes (8:48):These were terrible too and were more boring than anything. Since the movie wasn’t funny I don’t know why they thought it necessary to have an outtakes reel but whatever. A lot of flubbed lines and cut shots. The only partially entertaining thing was seeing more of Jemaine Clement but even he wasn’t in it enough to make it worthwhile.
One Nutty Movie: Behind the Scenes of Gentleman Broncos (15:27): A typical behind the scene featurette with nothing special but at least it wasn’t as full of movie clips as some of these types of extras seem to be. Nonetheless, it was boring and was as painful to watch as the movie itself. Some interviews from cast and crew.
Mini-Docs (21:23): These are several small featurettes that cover various aspects of the film, but mostly feature random cast and crew members making jokes and having fun. They remind me of webisodes that you see for bigger films in that they’re quick and they give a little glimpse into the making of the film.
Before I sat down to watch SHERLOCK HOLMES (finally), someone had described to me that Robert Downey Jr. basically played Sherlock Holmes as a British Tony Stark. I can safely say that my friend was absolutely correct in his assessment as there are many similarities between RDJ’s Sherlock Holmes and RDJ’s Tony Stark. As it turns out, that’s not a bad thing. In fact, it’s a very good thing as the suave and charming RDJ carried the film with an ease that only an A-list actor can.
We begin the story with Sherlock Holmes foiling a murder by the evil Lord Blackstone (Mark Strong). But after Blackstone is hanged for his crimes, word gets out that he may have resurrected himself to carry out an evil plot against England. Luckily, Holmes and his trusty sidekick Dr. Watson (Jude Law) are available to once again foil Blackstone’s plan. While they’re on the case, Holmes can’t help but be distracted as his former love Irene (Rachel McAdams) returns with motives of her own.
The basic idea for the film and the mysteries surrounding Blackstone are actually very fascinating and fun to witness unravel onscreen. I enjoyed the ride that Guy Ritchie took us on as Holmes used his brilliant deduction skills to unveil the various clues as the mystery was solved. However, the film began to slow down when the focus was shifted from the main plot and aimed towards the subplots with Holmes and Irene or between Holmes and Watson. It’s not that either supporting character did a bad job, because they actually performed very well, it’s that there wasn’t enough time to juggle all three stories and the subplots were distracting from the overall point of the film.
Even though the run-time of 128 minutes is a bit long for a film of this nature, it moved along at a brisk pace and the action kept coming. Even though the highlights of the film came as Holmes ran us through his logic and deduction of the situation (we needed more of that), the action scenes were very well done and well executed. When it comes to action scenes, fast and frenetic editing seems to be the norm, but thankfully Ritchie ignored the trend and actually filmed some action scenes that audiences could follow. In fact, I have to give Ritchie credit all around for a job well done. I’ve been hard on him lately for some of his lackluster films, but he did a great job with SHERLOCK HOLMES.
But Robert Downey Jr. has progressed to a point in his career where just about everything he touches turns to gold. The guy is as charming as they come and he commands the screen whenever he’s in front of the camera. I say that to point out that if you don’t agree with my assessment of RDJ’s acting, you may not enjoy the film as much as I did. This is his movie and how much you enjoy it may depend on how much you enjoy him as an actor.
BLU-RAY REVIEW
Video: The film is dark and grainy at times (as you can see by the pictures in this review), but that’s clearly how Ritchie intended it o look. So any gripes about the grain and darkness should be shelved because the Blu-ray does a wonderful job of preserving Ritchie’s film.
Audio: The 5.1 DTS-HD audio track was also wonderful and featured some of the best subwoofer use I’ve seen in a while. This is a great audio track.
Maximum Movie Mode: This is just truly incredible. It’s better than any featurette or commentary you could possibly hope for. In fact, I’ll go as far as saying that if you’re disgusted by the fact you have to wait 4 weeks to watch this from Netflix, you should feel very comfortable buying this disc for this special feature alone. Basically, Guy Ritchie sits between two monitors, one playing the film and the other playing various features. He talks about various scenes at a super-fast pace and even pauses the movie occasionally to talk in depth about a certain scene.
Focus Points (31:00): These are various featurettes that were also included in the Maximum Movie Mode, but they cover the issues you expect. I just watched all of these, along with the movie, so I wasn’t interested, but if you want to skip the other feature, this is a good alternative.
Sherlock Holmes: Reinvented (14:01): This is just your generic fluff piece, designed to get you to watch a movie you just saw. The money is in the Maximum Movie Mode.
FROM PARIS WITH LOVE, the Lionsgate Home Entertainment film starring John Travolta and Jonathan Rhys Meyers will be released on Blu-ray June 8, 2010. The film followed Jonathan Rhys Meyers as a government employee who teams up with a crazed up John Travolta to take on some terrorists in Paris. The film actually looked pretty bad although it has some potential since Travolta is playing more of a psychotic character as he tends to do really well with those particular roles. This Blu-ray will include a digital copy of the movie, and has a short list of extras that include:
Featurettes:
The Making of From Paris with Love
Spooks, Spies and Special Ops: Life Under Cover
Secrets of Spy Craft: Inside the International Spy Museum
The star-studded cast of VALENTINE’S DAY, including: Julia Roberts, Ashton Kutcher, Jessica Alba, Taylor Lautner, Jessica Biel, Jennifer Garner, Bradley Cooper, Eric Dane, Patrick Dempsey and Taylor Swift will be coming to your home theater May 18, 2010. This Garry Marshall romantic comedy brought in around $110 million at the box-office and was actually a pretty decent romantic comedy. It follows several couples on Valentine’s Day and shows us a few sides of romance and love. Sadly the special features are lacking dramatically and only include 40 minutes of undisclosed extras along with a sneak peak trailer of the upcoming SEX AND THE CITY 2.
The Walt Disney romantic comedy WHEN IN ROME starring Kristen Bell and Josh Duhamel will be released on Blu-ray June 15, 2010. The film follows unlucky in love New Yorker Kristen Bell as she takes a trip to Rome and unthinkingly takes coins out of a fountain of love which arouses a flow of potential suitors. This Blu-ray marks a change for Disney as it will be one of their releases that does not include a DVD or a digital copy of the film. Look for a short list of special features that include:
Deleted scenes (some BD-exclusive)
Extended scenes (BD-exclusive)
Crazy Casanovas: Mischief from the Set (BD-exclusive)
THE WOLFMAN, the remake of the classic film, will be released on Blu-ray on June 1, 2010. The film stars the grungy looking Benicio Del Toro alongside Anthony Hopkins and Emily Blunt. The Blu-ray looks to be packed with loads of special features, an extended version of the movie as well as the theatrical release. Included in with the Blu-ray is the original 1941 film THE WOLF MAN which will be presented via Universal’s BD-Live, UniversalHiDef.com and pocket BLU(TM). It’s nice to see so many special features on a release like this, I hope we get more of these loaded up Blu-rays in the very near future.
Special features include:
Werewolf Legacy, Lore and Legend: This documentary gives viewers a visual tour through more than seventy years of Universal’s Wolf Man films and thousands of years of werewolf mythology.
Featurettes:
Return of The Wolfman: This featurette will look at how the cast and crew behind this new retelling have tapped into the tragic roots of legend and cinematic lore to unleash a new terror for today’s audience.
Transformation Secrets: Whether transforming werewolves, producing hallucinogenic nightmares or recreating the fog-covered streets of Victorian London, this featurette will look at how the visual effects team has created a haunting world of moonlit monsters and unsettling thrills.
The Wolfman Unleashed: The team behind the stunt and action units share the physical challenges of bringing the Wolfman to life and creating a series of intense and action-oriented set pieces.
The Beast Maker: A detailed look at how make-up wizard Rick Baker transformed a classic monster into a modern nightmare!
Two alternate endings not seen in theaters
Deleted and extended scenes
Take Control: Special Makeup Artist Rick Baker, Visual Effects Producer Karen Murphy-Mundell and Director of Photography Shelly Johnson ASC take control of the viewing experience in this unique feature, offering a personal visual commentary by engaging with select scenes of the film to reveal details of the filmmaking process.
U-Control
BD-Live™, pocket BLU™ app and UniversalHiDef.com: The first ever online streaming of the original 1941 classic The Wolf Man
pocket BLU™ app: USHE’s groundbreaking pocket BLU™ app uses iPhone(TM), iPod® touch, Blackberry®, Android(TM), PC and Macintosh to work seamlessly with a network-connected Blu-ray(TM) player and offers advanced features such as:
Advanced Remote Control: A sleek, elegant new way to operate your Blu-ray(TM) player. Users can navigate through menus, playback and BD-Live(TM) functions with ease.
Video Timeline: Users can easily bring up the video timeline, allowing them to instantly access any point in the movie.
Mobile-To-Go: Users can unlock a selection of bonus content with their Blu-ray(TM) discs to save to their device or to stream from anywhere there’s a Wi-Fi network, enabling them to enjoy exclusive content on the go, anytime, anywhere.
Browse Titles: Users will have access to a complete list of pocket BLU(TM) app-enabled titles available and coming to Blu-ray(TM) Hi-Def. They can view free previews and see what additional content is available to unlock on their device.
Keyboard: Enter data into a Blu-ray(TM) player with your device’s easy and intuitive keyboard that will facilitate such Blu-ray(TM) features as chatting with friends and sending messages.
social BLU™: Connect with friends on your favorite social networks to share information about your favorite movies, enjoy Blu-ray(TM) community features and more!
With the sequel, CATS & DOGS: THE REVENGE OF KITTY GALORE, coming out on July 30th, it is only natural that Warner Home Video would release the original 2001 CATS & DOGS in all it’s Blu-ray glory around the same time. The first CATS & DOGS will be coming at you on July 20, 2010. The film follows the age old battle between cats and dogs as they try to secure top-secret high tech devices from humans. This is a favorite here at Flix66 and one that everyone should see. And just in case there was any question about where we stand, let me just say: Dogs Rule! Special features include:
Five featurettes:
HBO First Look: Cats & Dogs
Teaching a New Dog New Tricks
Mr. Tinkles Audition Tape
Dogs Rule
Mr. Tinkles Speech
Commentary by actor Sean Hayes, director Lawrence Guterman, producer Chris DeFaria and production designer James Bissell
The action/comedy THE SPY NEXT DOOR, starring Jackie Chan will be released on Blu-ray this May 18th. In case you missed this film, it had Mr. Chan acting as a spy who ends up fighting off secret agents while babysitting his next door neighbors kids. Poor Jackie Chan, he’s being reduced to kids films such as this and the upcoming THE KARATE KID (although, I must admit this one doesn’t look that bad). Before we blink we’ll have to watch his martial arts movies via quick editing, just like we have to watch Steven Segal movies. Not a lot of special features for this one, but here you go:
Bloopers Reel
Adventures in Acting with the Kids from The Spy Next Door
Wow, it has been a long time since I’ve seen a film this bad and I can safely say that it had not been long enough. (Sigh) I don’t even know where to begin. I’m confused on how a film like this gets made and why anyone involved jumped on board other than money. And if anyone says they do it for their kids then they are insulting their children. Children don’t have a lot of control to what they are exposed to, please don’t teach them that this is quality work. This is definitely a film that is the product of the system. Lets team up John Travolta and Robin Williams, do some quick cuts of some physical humor where they are getting beat up, brand it with Disney and viola, we got ourselves some money.
The filmmakers must know how bad the film is because everything is so quickly edited together jumping from one joke scene to the next without telling any story hoping the viewer won’t get bored before the 88 minutes are over. The film was seriously on crack. But no matter how quickly you edit a film if none of the jokes are funny then it’s still way too long.
Dan (Robin Williams) and Charlie (John Travolta) are business partners of I don’t know what. Dan discovers he’s a father to two 7-year old twins. The mother, Vicki (Kelly Preston) is headed to prison for a few weeks and needs newly discovered father to watch them. Dan asks his single, flirtatious best friend Charlie to help him out. These “Old Dogs” don’t know what they are in for. They go on a super speed crash course handling kids.
Lets just name some of the ridiculous scenarios and jokes that have been done before. The kids are immediately on board with calling this stranger daddy, mom is on board and new dad is on board. This all happens in minutes. They believe they all love each other in spite of never really knowing one another. Dad’s best friend is on board in helping him achieve his “love” goal. They go camping where they play tackle ultimate Frisbee, they use a puppet suit to dance and have tea and they get cradled by a gorilla and pecked by penguins. There is also an over tanning bit. You know what this is like? A really really bad sit-com, that would get canceled after one episode.
The premise wouldn’t, couldn’t and shouldn’t ever happen. Sadly, I wish I could say the same for the film, however, while OLD DOGS shouldn’t be made, it could and it would.
BLU-RAY REVIEW
Video: 1.85:1 1080p High Definition. It looked swell but my eyes were bleeding from the pain of the material.
Audio: 5.1 DTS-HD Master Audio. Technically it was fine but my ears bled as well for the same reason.
Audio Commentary By Director Walt Becker, Producer Andrew Panay And Writers David Diamond And David Weissman: They all seem to be genuinely pleased and impressed with their film laughing and joking. One even remarks how this is one of the great pairings in film with John Travolta and Robin Williams. Give me a break.
Bloopers (2:26): A basic blooper reel of the actors flubbing up their lines and laughing about it.
Deleted Scenes (3:30): Three additional scenes that did not add much of anything. One of which is funnier than the norm of most of the jokes but without reaching actual funniness, so who cares.
Music Video “Every Little Step” Performed By John Travolta And Ella Bleu Travolta (3:33): This is a little sweeter version of Bobby Brown’s hit single but with John Travolta singing and dancing with his daughter around large prop letters spelling her name.
(Exclusive to Disney Combo Pack with DVD and Digital Copy)
Young Dogs Learn Old Tricks (2:51): The two kids interview the two stars. Conner Rayburn questions Robin Williams and questions Ella Bleu Travolta her dad, John Travolta. With hard nose questions like what is was like working with their co star and what their favorite scene was.
Music Video “You’ve Been A Friend To Me” Performed By Bryan Adams (2:57): This is actually a pretty good song. If only Bryan Adams could have written it for a PIXAR film he may have gotten more recognition from it.
CRAZY HEART, the film that finally won Jeff Bridges an Academy Award after four previous nominations, will be released on April 20, 2010. The film follows an older, washed up country singer as he travels around trying to keep his career afloat. This film has received great reviews everywhere including right here at Flix66.com. No special features have been announced as of yet but stay tuned for updates as I’m sure Twentieth Century Fox will be adding some. Hopefully we’ll get a commentary from Jeff Bridges, he seems like such a cool guy who has a lot to say.
I know that you all have been waiting for this news (or maybe not) but Sony Pictures Home Entertainment has announced that they will be releasing the classic film BAD BOYS on June 1, 2010. The Michael Bay classic, starring Will Smith and Martin Lawrence, is about two cops in Miami who are on a case involving drugs. This is exciting news as this was one of my personal favorite action flicks growing up. Sadly no news is out about the release of BAD BOYS II as of now but stay tuned for further updates. Not a lot of special features to announce on this film, but here they are:
Documentary: Putting the Boom and Bang in the Bad Boys
DAYBREAKERS, the sci-fi vampire film from Lionsgate Home Entertainment will hit stores on May 11, 2010. The film stars Ethan Hawke, Willem Dafoe and Sam Neill is set in the future and is about an epidemic the turns people into vampires. This sounds very similar to I AM LEGEND, except the twist is that the vampires are running out of blood and need to save humans for their own survival. The Blu-ray looks like it will be packed with special features including a commentary and a feature length documentary. Here’s a complete list:
Featurette: Making of Daybreakers
The Big Picture: short film by the directors of Daybreakers (BD-exclusive)
Commentary with co-directors Peter and Michael Spierig and creature designer Steve Boyle
BonusView storyboard and animatic on-screen comparison (BD-exclusive)
Feature-length documentary: Making of Daybreakers (BD-exclusive)
Dwayne Johnson, Julie Andrews and Ashley Judd’s 2010 film TOOTH FAIRY will be hitting shelves on May 4, 2010. Surprisingly (or not so much), there was not a lot of fanfare or anticipation in seeing Mr. Johnson put on a pair of tights and fairy wings which made this film a bit of a box office dud. However, fans of Julie Andrews may be rejoicing at seeing her take part in films again. As the matter of fact Julie Andrews may be the only draw to this film as the special features announced are probably less than stellar considering the description we’re given is vague. Included on the disc are deleted scenes, a gag reel and an hour’s worth of special features.
If you’re a Twilight fan, then I really want you to read this review because I’m going to attempt to explain why traditional movie fans don’t like the Twilight movies. It’s not because of the sappy love story or the refusal to acknowledge traditional vampire lore, it’s because the movies are just very poorly made. But as upset as I am at how bad these movies are, true fans of the books should be livid. By getting second rate directors and amateur screenwriters to handle the beloved books, Hollywood is basically telling fans that they don’t care and they have no interest in making quality films from Stephenie Meyer’s novels.
When I sat down to watch THE TWILIGHT SAGA: NEW MOON, I had high hopes. I couldn’t stand the first one, but I thought replacing Catherine Hardwicke with Chris Weitz was a step in the right direction and I hoped that some of the problems that plagued the first one would be fixed in the second. But alas, I was wrong. Weitz didn’t make many improvements and the long, drawn out scenes, meaningless dialogue and overall poor direction permeated throughout the film, just as they had in the original TWILIGHT.
The single biggest complaint I have with the film is with the acting, and I’m not so sure it’s the fault of the actors involved as much as it is the direction they’re given. I’ve seen Kristen Stewart, Robert Pattinson, Michael Sheen and Dakota Fanning excel in other films, why were they so bad here? And someone needs to tell Kristen Stewart that she needs to find a way to say her dialogue without making weird breathing sounds before and after. The moaning and heavy breathing is irritating and annoying. I don’t know if she’s trying to be sexy or if she needs an inhaler, but she sounds ridiculous. Again, I’ve seen her do fine in other movies, I don’t know why she’s so incompetent here. And let’s not forget that Anna Kendrick was nominated for an Oscar.
And no review of NEW MOON would be complete without touching on the story. The story is something you either love or hate and I know there are so many people out there that can’t get enough of the Twilight series. Being a Star Wars guy, I totally understand what it means to like something that other people don’t understand. But when it comes to NEW MOON, there were some major issues with the story. Bella was devastated when Edward left and that part I understand because we’ve all had failed high school romances. But Bella went into a deep depression and had ferocious nightmares for months after the breakup. Why? After asking the question to someone that read the book, they told me that Edward and Bella have some kind of special connection and that them being apart was like “not breathing” for them. Well, I NEVER got that from the movie, not once. Perhaps the single most important aspect of the series (the connection between Bella and Edward) is never fully explained or explored, yet we as an audience have to buy into all the events that happen because of their connection.
It’s rare that a film fails on every single aspect of filmmaking and still manages to be successful, but that’s somehow what NEW MOON managed to do. The acting, screenwriting, directing, editing, music, settings and cinematography were all failures. I freely admit that I don’t like the story, but if the basic filmmaking aspects were done properly, I think I could appreciate the films.
BLU-RAY REVIEW
Video: The 2.40:1 video presentation was decent, but the film quality still seems below average. I have to assume it’s the film quality and not the Blu-ray, but again, that’s something they need to fix in the future.
Audio: I had no complaints with the DTS-HD audio, although I didn’t think it was used utilized as well as it should have been.
Commentary with Chris Weitz and Peter Lambert: Chris was great in this commentary and I almost feel a little guilty for trashing his film. But he gives a much better commentary than he directs a film. But there were times when I thought that even he didn’t like the film. He didn’t come out and say it, but he made a few jokes here and there and it was clear he didn’t take it too seriously. There were a few long pauses, but overall I think fans will enjoy this.
The Journey Continues: The Making of The Twilight Saga: New Moon (65:24): Oh man, Twilight fans are going to love this. This is a 6-part documentary that covers everything you want to know. I intended to skip over this, but I couldn’t stop watching. Twilight fans are crazy, but I can’t look away. For the record, I enjoyed this waaaayyy more than the actual film.
Mel Gibson and EDGE OF DARKNESS will be making their way into your home theater on May 11, 2010. I don’t see anything extra special in the features section but it would have been nice to see a commentary from Mel since we haven’t seen him in a movie since 2002. However, we will get to see him kick some rear just like he did in the good old days. It would have also been nice to get some information on why Robert De Niro dropped out in the last second, but alas another Hollywood mystery goes unsolved.
Focus Point video pods (BD-exclusive):
Scoring the Film
Revisiting the Edge of Darkness Mini-series
Edge of Your Seat
Making a Ghost Character Real
Adapting the Edge of Darkness Mini-series
Director Profile Martin Campbell
Boston as a Character
Mel’s Back
Craven’s War of Attrition
Past and Present of Edge of Darkness (BD-exclusive)
Why? Why would all the actors do this movie? I just don’t get why this got made. It might be the worst heist movie ever. ARMORED clocks in at about an hour and twenty minutes. If you make a film that short, it better pack a punch. Sadly nothing here but one-dimensional dumb characters with some lame action.
Ty (Columbus Short) is a new guard for an armored truck company. He apparently got the job through a close friend of his fathers, Mike (Matt Dillon). Mike and the rest of the crew talk Ty into stealing a bunch of money they are transporting by pretending they get hijacked but keeping it for themselves. Well, plans get all muffed up and the crew reacts quite irrationally… actually insane is a better word. Ty finds himself on the only side of good defending himself inside an armored truck against his fellow team trying to save himself, the money and everyone else that they have to kill along the way.
The crew does some really dumb things. They don’t check to see if the coast is clear before stealing the money. They all run towards an explosion leaving a prisoner of theirs free. These are things a 9 year old would know to do just from the television they’ve been exposed to. And I’m a fan of mindless fun action movies but there was barely any action. The bad guys spent the entire time hammering away at the truck. They really needed something else to do.
The bad guys are strictly bad without grey areas. The film makers attempt to make the crew seem like good guys by forcing a scene with the guys laughing and having a drink together but they all turn on a dime and become murderers. None of the characters besides the lead have any motivations. The film has some good actors with Matt Dillon, Laurence Fishburne and Jean Reno. They all seem to coast through the movie with Fishburne specifically not taking the film seriously and Columbus Short taking the film too seriously.
The direction definitely had some odd choices. The camera kept panning around a character to reveal someone behind him who wasn’t there seconds ago. Each time I kept thinking how improbable it would be for the person or persons to be standing there all macho. They would have to tip toe then quickly act cool like they were standing there the entire time, even though the time that went by was physically impossible for them to show up. In the middle of the film, we have one of the few attempts at action, which consists of a chase scene between two armored trucks. The edits are so abrasive and random you can’t tell what’s happening, but what I gathered is they drove in a circle and crashed in their original spots.
The director, Nimrod Antal, also directed the very intense and surprising scary VACANCY. It too was a film that was a little short in length but at least it packed in thrills. He’s also directing the much-anticipated PREDATORS, which now I’m a little concerned about.
Armored has no cleverness, no action, no character development and no value.
BLU-RAY REVIEW
Video: 2.35:1 1080p High Definition. The picture looked all right but I would have been just as interested with a black wall.
Audio: 5.1 DTS-HD MA. Yes the lame car chase and exploding fire works sound great.
Producer and Cast Commentary: A producer and a couple of the supporting actors just sort of chitchat about how they really liked the movie and some of the tactics of character development and prop use. They all seem to take this film seriously.
Planning the Heist: Making Of (15:09): A basic making of featurette that covers the director, writer, DP, and cast talking about how great it is to work with each other and how good the movie is. Someone actually talks about how all the character have grey areas with no real bad guys, which is the exact opposite feeling I had.
Crash Course (11:30): Mostly about how they designed and choreographed the armored car chase scene in the middle of the film. Adjusting the vehicles so they were able to be more mobile and quick.
Armed and Underground: Production Design (6:47): Talks about how they created a believable warehouse on set without going on location. I’ll admit, the set design keeping the look of rusting and collapsing but keeping everything safe was actually pretty impressive.
Every now and again you watch a movie that you really haven’t heard much about and are completely blown away. The Stoning of Soraya M. is that movie. Let’s be clear, this is not an easy movie to watch over an over. It’s spoken almost entirely in Farsi and becomes very graphic but it moved me to the bone.
This is based upon a true story, which makes it all the more heart wrenching. In 1986, Sahebjam’s (Jim Caviezel) car breaks down near a small village in Iran. As his car is getting fixed, a woman Zahra (Shohreh Aghdshloo) notices that he is a journalist and must tell him the story of her nieces stoning that just happened the day before. Soraya (Mozhan Marno) is in a dreadfully abusive relationship. Her husband plots to rid her by accusing her of adultery, which is punishable by death by stoning. Soraya’s only ally is her aunt who is the only voice who fights for Soraya’s innocence.
Shohreh Aghdshloo as the lone voice of reason is fantastic. She travels the gauntlet of emotions with huge control and presence. If I were a casting agent she would be at the top of my list. She was nominated for an Oscar for HOUSE OF SAND IN FOG but is not yet a household name (I do realize that Shoreh Aghdshloo is a silly name to consider household in the U.S.) but I have no doubt that she should be. Apparently, it was a low budget movie but still quite impressively put together. The camera work displaying the people, town and landscape is magnificent. Even the simple dialogue and plot leading up to the inevitable end result was captivating and suspenseful.
There is no spoil alert. The title tells you exactly what is to take place, which is nearly the entire shocking last 30 minutes. The details were quite impressive and apparently accurate for the ritual of a stoning. The children gather specific legal sized rocks for the people to throw and as they walk to their doom the people tap the stones together. The hands are tied and the accused is buried to their waste as the mob filled with family and friends watch and join in on the punishment. I’m sorry if I’m describing too specifically but for me it was these details that made it so powerful and to think that this still happens today in some parts of the world.
The film has one of the same producers of THE PASSION OF THE CHRIST and I would guess one’s feelings toward that film might be similar to this one. And I’m talking not from a religious standpoint but from a human being standpoint. Like THE PASSION OF THE CHRIST, THE STONING OF SORAYA M. fully displays this horrible punishment to those that are loosely convicted of a crime. Regardless of your views of capital punishment, I think most people can agree that it is inhumane to make one suffer to this degree especially without equal rights within the law.
BLU-RAY REVIEW
Video: 2.35:1 Widescreen in 1080p HD. A clear picture with some nice cinematography but the video quality doesn’t jump out visually as many scenes are shot in small rooms against muted colors.
Audio: 5.1 Dolby Digital Audio in Farsi with English Subtitles. This is a dialogue driven movie with minimal sound. The dialogue appears to be clear but since everyone is speaking Farsi, you’ll be reading the subtitles.
Audio Commentary with director and Co-Writer Cyrus Nowrasteh and Co-Writer Betsy Griffen Nowrasteh: A well-informed commentary by the husband and wife duo. She focuses on comparisons with the book while he covers a lot of the technical aspects filming the low budget picture. They both share numerous details about the actors or lack thereof when referring to the extras. A few of the times they sit quietly but breathe loudly. All in all a very insightful commentary that covers many perspectives.
Audio Commentary with Film Crew: This is definitely a far more technical aspect. They talk everywhere from clothing, to cars, to how much space they had to get a certain camera shot.
The Making of The Stoning of Soraya M. (43:03): Shot in Standard Definition, this is divided into 3 parts
Part 1-Inspiration: This covers mostly how they came across the story and the process of getting the rights to make the film.
Part 2- Production: On location, it captures a lot of the difficulty working with the extras and translators.
Part 3- Completion: Mostly about how they shot the stoning scene using prosthetics and a fake Soraya model. Lots of little mechanics, a hole for her to sit in and fake blood dripping from the head. It was all quite impressive.
George Lucas has to be kicking himself these days. Until now, Lucas was the king at milking money from his fans, but I think James Cameron might take that title from him. For proof, look no further than the announcement of Avatar on Blu-ray. The first (yes, there’s more) edition hits stores on April 22nd. It will be 2D and bare bones. But they’ve already said that a special edition (also 2D) will be released in the fall. Oh, and the 3D version in a year or two and we can assume there will be multiple editions of that as well. But why is April 22nd important? Because it’s Earth Day. So the marketing lesson just doesn’t stop.
This version of the Blu-ray will have a 5.1 DTS-HD audio track and a 1.78:1 aspect ratio. There was some drama over the aspect ration, but 1.78:1 is the original ratio it was filmed in. It was supposedly presented in an altered 2.39:1. Artwork below.
The fourth pairing of Penelope Cruz and Pedro Almodovar shows that the director and his muse are determined to take their work to new places and to stretch the limits of their abilities. It’s clear that both of them have grown in their respective professions since they first worked together in LIVE FLESH. BROKEN EMBRACES is a wonderful film and if you extend a little patience, you’ll find that the end product will leave a lasting impression on you that will have you thinking about the film long after you finish watching it.
The center of the film is Mateo Blanco (Lluis Homar), a former director turned writer that is reciting his tragic love story to Diego (Tamar Novas), the son of his agent, Judit (Blanca Portillo). Through his story of lost love is when we meet Lena (Penelope Cruz), who is living with Ernesto Martel (Jose Luis Gomez), a wealthy businessman that treats her like a prisoner. But in a chance meeting, Mateo casts Lena as the star of his next film and that leads Ernesto down a dark path of jealousy.
There are two stories unraveling in the film, the flashback that concerns the love triangle between Mateo, Lena and Ernesto and the present day story that involves Mateo and Judit as they come to terms with what happened so many years ago. The problem is that I didn’t care at all about the present day story, but was mesmerized by the flashback love story. It also seemed that more effort was put into that story in both screenwriting and directing style. The scene where Lena mouths the words she’s saying on screen as Ernesto reacts was breathtaking and heart breaking at the same time. It was just a wonderful, exceptionally filmed moment.
When I watch foreign films that deal with the idea of love and what it means to lose someone you love, I feel that sometimes other countries have a way of telling love stories that Americans do not. I realized that I was deeply involved with the love story between Mateo and Lena, despite the fact that we had very little setup to their story. In fact, one of my complaints is that we didn’t have enough setup, but Almodovar managed to make us care about the characters anyway. If we had focused on that love and how it grew and developed, the film would have been better for it. But even with what we were given and knowing the ending, the audience was still shaken by the events transpiring on screen.
I am a fan of Almodovar and perhaps that led me to be more forgiving for some of this film’s shortcomings, but I found myself captivated any time Penelope Cruz was on camera. I don’t consider myself a huge fan of hers, but like Uma Thurman with Quentin Tarantino, I become a bigger fan of Cruz whenever she works with Almodovar. This is a quality film and fans of Cruz and Almodovar will definitely not be disappointed.
BLU-RAY REVIEW
Video: Almodovar is a master at using colors in film and having them express emotions and moods, so it’s a good thing this transfer was top notch. This is actually the first Blu-ray of his I’ve watched and I was impressed by how beautiful it looked.
Audio: The audio in his films isn’t much of a focal point, but this track was very nice.
The Cannibalistic Councillor (7:35): This is kind of a short film, taken from the movie they were filming within the movie. It mainly featured Carmen Machi giving a huge monologue about a variety of inappropriate topics.
Deleted Scenes (12:20): Two of these were extra scenes that served no purpose and deserved to be cut. The other was more of the movie within the movie, which I’m still not sure I understand. But the last scene added a lot more to that story.
Pedro Directs Penelope (5:53): This was a cool feature because it had a split screen of Pedro in the director’s chair and Penelope in front of the camera. Pedro yells out lines and direction and Penelope responds.
On the Red Carpet: The New York Film Festival Closing Night (3:13): Not much more to say that the title doesn’t capture. It was okay, but there was no need to have cutaway scenes to the movie in such a short featurette.
Variety Q&A with Penelope Cruz (6:19): I like Penelope Cruz and think she’s a very beautiful and talented actress. But she’s been doing American films for over 10 years now and her English is worse than it was when she first started. Anyway, an interviewer asks her a handful of questions and she responds appropriately. Again, too many movie scenes for such a short featurette.
I’ve never really been a fan of dramas and/or films that make you want to jump off a bridge and hope to catch an eyelid on a rusty nail before you hit the ground. To me, PRECIOUS reeked of ominous misery from the trailers and low and behold, the picture it paints is by no means pretty. Right off the bat you have a disturbing chain of events that start out far too early in this kid’s life, which make her tragic tale one that made me wince far too often. For some, this may be the longest 109 minutes of your life.
My particular distaste here comes from the subject matter. Rape, child abuse and domestic violence are a volatile mixture, and one that doesn’t ever go down smooth. I genuinely feel for Precious’ character here, but my personal complaint stems from the fact that many people endure these things in life and the idea of having them printed on paper or filmed just doesn’t set right with me. These problems are far too real to be taken lightly, even if the film is geared toward giving victims of these types of abuse hope. Furthermore, when I see these types of things happening on screen I think back to flicks like Paul Walker’s RUNNING SCARED where this type of behaviour was solved by shooting the perpetrators in the face. Now that’s my brand of justice.
The one aspect of this film I truly enjoyed was the raw strength Precious held onto despite the odds and her horrible situation. There is something to be said about that, and if I had to sum this film up in a word it would be strength. Sadly, there’s far too much else going on to focus on this alone, my emotions were a tangled mess leaving me ultimately troubled. Some of this confusion was brought on by a particularly awkward score that (like my emotions) was all over the place. Some of these songs (matched up with the wants and dreams of a kid who wished she was someone else) felt wrong and in the end played a serious number on the film’s tone.
I’m not at all surprised to see Oscar winners among the cast (especially from Monique and Gabourey Sidibe) as their portrayals were certainly believable and moving in a uniquely shocking way. However, when several musical sensations all appear in the same cast roster it does tend to raise a flag or two for me. Nothing against Mariah Cary or Lenny Kravitz but they stuck out like sore thumbs and for the amount of lines and screen time (which was thankfully not much) I just don’t see the point of them being a part of this unless it was a vain attempt at rekindling hurting careers.
PRECIOUS was a lot of things, but a fun night at the movies is definitely not among them. I understand that drama gives actors and actresses a venue to really push themselves emotionally so they can show us another side of things, but these are not areas I want to explore in film. There’s enough pain and anguish in life to go around, so when I go to the movies I’m one of those people who likes an escape from reality, not a depressing reminder of how messed up the world truly is.
BLU-RAY REVIEW
Video: 1.85:1 Widescreen in 1080p HD with AVC codec. Nothing too plush visually as most of the film takes place in an apartment and a classroom.
Audio: 5.1 DTS-HD in English, French and Spanish with the same subtitle options. Nothing wrong with the audio, though the verbal abuse is hard to listen to at times.
Commentary with Lee Daniels: The director walks us through the film and you can tell that even he is a bit shaken by some of the more graphic content. Can’t say I blame him really.
From Push to Precious (15:22): “Push” author Sapphire gives us some details pertaining to her own life experiences as well as a look into the mindset of the story.
A Precious Ensemble (18:32): Here the producer tells us that the key to this film was finding the right actress to play Precious and how incredibly hard the task turned out to be.
Oprah and Tyler: A Project of Passion (9:31): A look into what pulled Oprah and Tyler Perry into the project. Oprah I get, but this was a little different for Perry.
A Conversation with Author Sapphire and Director Lee Daniels (8:27): This plays out like an ass kissing contest between the two, so much so that it feels rather fake.
Audition: Gabourey Sidibe (2:33): Here we get a brief two minute peek at a clip from Gabourey’s Precious audition. She didn’t even look nervous.
Deleted Scene (1:45): The Incest Survivor Meeting: No need to explain why they cut this one, the title pretty much says it all. No need to beat a dead horse.
Reflections on Precious (0:43): Director Lee Daniels and actress’ Gabourey Sidibe and Paula Patton throw down about the film and as you can imagine it’s all good across the board.
Previews: We a theatrical trailer as well as a handful of other trailers for upcoming Lionsgate features.
PLANET 51 has a unique premise of humans switching places with the aliens. The idea that humans are aliens invading a less advanced species, whose one fear is monsters like us taking over their world is a fun little twist. It’s a planet much like earth but with green people and they are living a lifestyle similar to earth’s 1950’s. They somehow even have the exact same songs as we did. The only real difference is that all the vehicles hover.
Out of nowhere an alien, or humanoid, ship lands from the sky. American astronaut, Captain Charles “Chuck” T. Baker (Dwayne Johnson without “the Rock” in between his name) believing he is alone, immediately emerges from the ship, prepared for a moon like atmosphere and sticks an American flag into the ground. After stepping on a dog’s squeaky toy, he looks around to see that he has landed in white picket fenced suburbia full of green people. With the help of a local, Lem (Justin Long) Chuck must navigate his way back to his ship to get home before General Grawl (Gary Oldman) and zombie predicting obsessive, Professor Kipple (John Cleese) catch him and distract his brain.
The voice actors all did a fair job but no one was necessarily exceptional. This is one of those cases where the studio is paying for a few famous names to put on their poster rather than finding great voice talent. Jessica Biel is barely used as Neera, a neighbor girl and love interest of Lem. Seann William Scott is probably working the hardest as Skiff, the high energy, dim-witted friend. Ironically, the best character is a silent WALL-E esque robotic dog name Rover working for NASA. Rover has his own little adventures with a fetish for rocks avoiding capturing any living specimen. Thus, ill preparing the humans for life on Planet 51.
PLANET 51 is a super cutesy, sweet animated film. But with today’s complex animated story lines, clever and fun for kids and adults alike, PLANET 51 comes off a little flat and boring. Containing a few funny scenes with a pretty neat premise, it’s definitely more for kids but I kind of think that it may not be able to even hold their attention fully.
BLU-RAY REVIEW
Video: The 2.35:1 transfer looked real nice. The animation pops right off the screen.
Audio: The 5.1 DTS-HD track sounds clean with the soundtrack being really the only sound to showcase.
Target 51 Game: This is like the old Atari games but with less fluidity. You’re the ship, you move left to right and shoot other ships. The last round is a bit like Asteroids but again worse.
Extended Scenes (2:49): These are 3 scenes that added about 30 seconds each. They didn’t really make much of a difference. The first two are longer versions of Chuck in Lem’s bedroom and the third are the two doofy soldiers trying to be better zombies.
The World Of Planet 51 (2:54): Basically a virtual tour through the town and every location within the movie, really showing off the fantastic art direction.
Life On Planet 51 (12:04): This is the only feature worth anything. The first half showcases the voice actors talking about how they came up with the sound of their character and the difficulties of working by themselves. The second half showcases the writers and animators coming up with their ideas for the movie. Grabbing a small camcorder video taping themselves during certain movements so they might animate more authentically. It was quite funny. I would equate it to a garage band making it big.
Planetariu- The Voice Stars of Planet 51 (3:17): A typical fluff piece featurette with the actors talking about how great the movie is as clips from the film are shown.
Music Video Montage (2:11): This is lots of clips of the movie put to music. More like an extended preview set to music.
Animation Progression Reels (15:45): 6 animation progression scenes with 4 boxes of the same scene, each containing a different stage during the animation process. For the most part the scenes chosen were the best scenes in the film.
I’ve been awake for about 10 hours since I saw Spike Jonez’s WHERE THE WILD THINGS ARE and I don’t think I’ve stopped thinking about it since. I feel like I just finished it and I’m already planning on when I can see it again. I’m a little taken aback by the complexity of the film and its ability to address so many themes and emotions, especially since the source material is a children’s book with barely 9 sentences. At first glance, some might think this is a simple movie about a kid and a bunch of furry creatures. But anyone that didn’t have a perfect childhood will know that this movie is so much more.
Max (played wonderfully by Max Records) is a little boy struggling to find his place in the world. His sister is becoming a teenager and is too old to play with him, his mom is single and stressed at work and he doesn’t have any friends close to him. When his loneliness culminates into an outburst at his mother, he runs away from home and travels to a distant island where he encounters several weird looking creatures. They’re instantly enamored with little Max and make him their king. While “ruling” his kingdom, Max befriends the creatures and that sets off a journey of discovery that changes Max forever.
I’ve never seen a movie that was able to capture a particular emotion in a film as well as this exemplified what it meant to be lonely as a child. Loneliness is tough to deal with at any age, but as a child, it can be devastating and can lead to confusion and any other gauntlet of dysfunctional emotions. Some kids act out on these feelings by misbehaving in school, others immerse themselves in their toys and some kids create imaginary friends, but Max created a world of strange creatures, each one representing something he was feeling or something he wanted to feel. Doubt, anger, depression, pride, fear and frustration are all manifested into furry creatures that Max interacts with. But as Max interacts with these creatures, he tries to fulfill various emotions that he wants to feel; security, support, love, reassurance, calmness, only to realize the difficulty of pleasing everyone. These interactions lead him to accept his situation and basically, to grow up.
Your childhood might be the key to appreciating this film. If you were an only child, or came from a broken home, you should be able to relate to Max and the emotions that he goes through. But if those emotions are foreign to you and you grew up with two loving parents and a supportive sibling, then you just might not get it. This movie, more than any in recent memory, is one that you have to be able to relate to in order to appreciate. Needless to say, this movie hit home for me and I found myself transported back to my childhood, albeit not necessarily in places I want to be. But any movie that can have such an emotional impact on an audience is impressive in my book.
BLU-RAY REVIEW
A lot of how I base my Blu-ray review rating is related to how much I got compared to how much I wanted. In this case, it’s a shame we didn’t get a commentary or an in-depth documentary about the film. There was a lot going on and I would have loved to hear Spike Jonze talk about it.
Video: The 2.40:1 transfer isn’t perfect, but it is nice. The transfer fell a little flat during some of the darker scenes, but overall it was a fine transfer.
Audio: The 5.1 DTS-HD track was very nice and when it had a chance, it really boomed.
Higglety Pigglet Pop, or There Must Be More to Life (24:02): Meryl Streep and Forest Whitaker voice characters in this insanely odd animated short. This is actually based on another Maurice Sendak book and…it’s just odd. I’m not sure how to explain it. It’s not really animated or stop motion, but rather a hybrid of the two, combined with some live-action. It’s cute, in a quirky kind of way.
HBO First Look (13:21): We’ve seen a thousand of these and this one is no different. If not for Jonze’s unique directing methods, it would have been a waste, but getting some insight into what went on during filming was nice.
Where the Wild Things Are Shorts (37): This is a series of about 8 mini-featurettes by Lance Bangs and cover a variety of topics. Most of them focus on little Max Records and his trials and tribulations filming the movie. I enjoyed the “Absurd Difficulty of Filming a Dog Running and Barking at the Same Time”; it’s great because of how much work went into filming a small scene in the very beginning. Overall, these are fun to watch and they won’t bore you.
I didn’t catch 2012 in theaters, but I heard what everyone was saying and I knew it wasn’t nice. However, I held out hope because I really wanted to defend the movie and say that we should appreciate it for being fun. I typically like these kind of movies and despite the negativity, I was still excited about it. But it wasn’t meant to be and I quickly learned that the negativity I had heard wasn’t even close to being harsh enough. This movie isn’t even close to being enjoyable.
It took about 20 minutes before I understood anything that was said in the film. It’s not because they were speaking “too technical” or that the script was over my head, it’s because the dialogue was nonsensical and completely random. It sounded like a little kid wearing a doctor’s coat and pretending to be smart. That’s when I knew that the people who wrote the script had absolutely no comprehension of science beyond a fifth grade level. And this is coming from a guy that thought they did a good job in ARMAGEDDON of making it seem believable, so I’m not quick to insult the intelligence of a screenwriter. But anything involving the science of 2012 was ridiculous.
By now, you’ve probably heard that the world is going to end on December 21st of 2012. This particular date is “famous” because to the ancient Mayans, this was their day for Armageddon (the end of the world, not a screening of the Michael Bay film). In the film, we start in 2009 when two scientists discover the increased temperatures of the earth’s core and that leads them to deduce that the world will end in 2012. We pick up again in 2012 as the prediction has started to come true. Aside from a few government types, we also follow the events through the eyes of Jackson Curtis (John Cusack), a struggling author and divorcee that’s taking his kids to Yellowstone. For some reason, Yellowstone is the center of where all of this destruction is taking place and Jackson and his kids get a firsthand look at what’s about to come.
As of this point, we haven’t seen anything interesting. This is a big-budget, high concept, end of the world film and it took almost 30 minutes to get to the first action sequence. The first action sequence is Jackson and his family racing through LA in a limousine while the city is destroyed around them. You’ve probably heard that this scene is great and the effects are amazing. I hate to break this to you, but this is one of the worst CGI scenes we’ve seen in the past five years. The destruction of the city is great, but any scene involving the car and especially scenes that cut to the actors in the car are embarrassingly bad. Remember those old SNL skits where people would be in a car and extras would hold cardboard cut outs behind them to make it look like the car was moving? That’s exactly what this looked like. But the path of the car and the scale of the car to rest of the world was completely off. At times it either looked gigantic or miniature; and that’s just a lazy effort from the special effects team.
But it’s an end-of-the-world film and so they have to have some sort of human element to keep people emotionally involved. Love him or hate him, Michael Bay understands this and usually manages to excel in that arena. He should give Roland Emmerich some lessons because Emmerich seems to have no understanding of how to get audiences emotionally involved in characters. Even with the likeable John Cusack, I couldn’t have cared less about the fate of Jackson Curtis and during his blatant POSEIDON rip-off at the end, I was just waiting for the film to end.
I didn’t want to be another critic that took shots at 2012, but this was a horrible film. So to sum up, this film had bad acting, atrocious dialogue, b-grade special effects and screenwriters that couldn’t be bothered with research. Audiences don’t need much to be entertained, but I don’t even think these guys were trying.
BLU-RAY REVIEW
I have admit that as I started watching these special features, I kept waiting for someone to burst out laughing. Something just didn’t seem right as everyone was talking about “what an important movie they were making” or how this is “the best film we’ve made”. Were they joking? Was this just a gag to make fun of the audience? I guess not because they kept their serious tone throughout.
Video: There’s no denying that this 2.40:1 widescreen transfer was wonderful. Although the CGI needed some work, it at least looked beautiful.
Audio: As good as the video was, it couldn’t compare to the 5.1 DTS-HD audio track. This track is booming throughout and made the movie somewhat tolerable. This had some scenes that would work great to show off your system.
Commentary with Roland Emmerich and Harald Kloser: Like I just mentioned, these guys take this film way too seriously. I felt like I was in a lecture where the guest speaker didn’t want to be there. As they move along in a very monotonous manner, they keep mentioning how important the film is and just dive into various aspects of the movie. I found it to be dry and a little forced.
Picture-in-picture: Roland’s vision: This is an alternate track you can play and serves as a picture-in-picture commentary where they cut to different interviews with the cast and crew and show some behind the scenes footage on the special effects. I thought it was a cool track and definitely a worthy extra for those that dug the film.
Alternate ending (3:58): This ending was a little odd and I guess this was the first theatrical ending. Neither were worth writing home about, but this ending is the lesser of the two.
THE INFORMANT is one of those films that really suffered from a horrible marketing campaign. Studios have to learn that even though they might cheat some ticket sales by misleading audiences about a movie, the end result will be detrimental when all of those people feel let down because they didn’t get what they wanted. In this case, every preview and commercial made THE INFORMANT out to be a slapstick comedy that was going to keep you laughing throughout. Although I found the film to be hilarious, it definitely isn’t funny in that traditional sense and comedy was not the overriding theme. This is a clever, intelligent character study that happens to be quite humorous.
Matt Damon is Mark Whitacre, a fast rising executive at food chemical company that seems to have everything going for him. When his boss is made aware of a potential saboteur within the company, they call the FBI in to investigate. That sets in play a series of lies and manipulations on the part of Mark Whitacre who is constantly on the fence about who to trust and how far he wants to take the investigation. Soon, the film’s story (and the FBI’s case) becomes more about Whitacre and less about the company they were investigating.
The issue with the film is that we never have any motivations on the part of Whitacre. He tells the FBI about the price-fixing scheme his company is concocting with other companies, but it’s not clear why. We know Mark is stealing money from his company, but with a high salary and big bonuses, his theft doesn’t make sense. But this isn’t a fault to screenwriter Scott Z. Burns, this is just who Whitacre is. I don’t think he would be able to tell you why he did the things he did and why he made specific decisions. Although at times frustrating, it turned out that watching Whitacre go from lie to lie was actually fascinating because the audience learned about the lies around the same time the other characters in the film learned about them. And we never really knew for sure what was a lie and what wasn’t.
Of course, with a lesser actor, this movie would have been a complete failure. But Matt Damon is on his game as Whitacre and he delivers a wonderful performance as the wily executive. It was a very natural and convincing performance that should have garnered him more attention than it did. However, the funniest parts of the film came in the form of short voiceovers where Damon would go off on random thoughts while in the middle of a scene. I found myself looking forward to those voiceovers and it was a nice way to break up the film.
If you know that you’re not getting a slapstick comedy, but rather an intelligent, quirky drama that happens to be funny, I think you’ll be impressed with THE INFORMANT. It featured a fantastic performance from Damon and proved to be a very enjoyable film.
BLU-RAY REVIEW
Video: Soderbergh typically uses a flat, slightly fuzzy way of filming and this is no different. However, the transfer looks great, but it’s only as good as the source material.
Audio: The TrueHD audio track was efficient, but the front channels were heavily used and overall I felt like this was holding back a bit. It’s a dialogue heavy film, but I was a little disappointed in the audio track.
Commentary with Steven Soderbergh and Scott Z. Burns: If you’re a fan of commentaries, then you’ve probably heard a Soderbergh track before. He does commentaries for almost all of his films and they’re all a joy to listen to. He and Burns had a lot to talk about here, but they stick to the choices they made and avoid boring you with details, which I very much appreciated. I recommend any Soderbergh commentary and this one is no exception.
Deleted Scenes (6:25): These were as good as anything in the movie and could have been left in without missing a beat. You’ll recognize a couple of these from the previews and overall, these were worth watching.
There are a lot of interesting questions and discussion topics raised in LAW ABIDING CITIZEN. Is it possible to push a victim so far that he becomes the abuser and if so, where is that line? Or maybe; at what degree does the justice system begin to hurt the very citizens that it was designed to protect? These are complex and multi-faceted themes that you might expect Clint Eastwood or Steven Spielberg to tackle in a three-hour epic. Well, F. Gary Gray tried to tackle them in a two-hour action movie and the result is what you expect in that the subject matter felt over the heads of everyone involved with the film.
Gerard Butler is Clyde Shelton, a seemingly normal man that we immediately see fall victim to a random act of violence when two men force their way into his home, rape and kill his wife and daughter, all while Clyde is helpless to do anything about it. We skip to the court date when the prosecuting attorney, Nick Rice (Jamie Foxx) strikes a plea deal with one of the intruders and avoids trial. Clyde feels that the system has failed him and is angry that the intruder most responsible for the murder of his family is going to walk free in five years.
At that point, we skip ten years in the future and Clyde begins his assault on the Philadelphia justice system. So far, we’ve only witnessed about 15 minutes of screen time, so it’s clear that the goal is to get to the violence and revenge of Clyde. He starts out by going after the intruders and during this time, the audience is on board with him. We didn’t like watching them kill his wife and therefore, watching them suffer a horrible death is disturbingly satisfying to us. But that doesn’t last long because soon Clyde starts going after people that had less and less to do with the murders (a paralegal, a judge, the DA, etc.). That was kind of the point of the film, which was to switch the roles of victims and abusers and let the audience decide where that point occurred.
Unfortunately, what probably should’ve been a deep, thought out film turned out to be a somewhat routine vengeance film. Yes, there was a twist, but the majority of the film was spent watching Clyde kill people and Rice trying to stop him. They also attempted to throw in a subplot with Clyde being some sort of super-spy that specialized on killing people from afar and it lost sight of the story. They already had the major points covered and the effort at furthering the story should have been on getting into the mind of Clyde and Rice and developing them as characters.
I couldn’t shake the feeling that the final product was trimmed out of a much longer, deeper film where all the character and story development were cut out. Gerard Butler has yet to match his performance in 300 and has managed to turn in disappointment after disappointment. Jamie Foxx isn’t much better and he continues to give uninspired performances. Overall, the lack of inspiration was a problem for everyone as LAW ABIDING CITIZEN managed to fall flat and well short of what it could have been.
BLU-RAY REVIEW
Video: The 2.39:1 video presentation was nearly flawless, but it wasn’t much to look at. Gray didn’t use many colors and the overall palette was flat.
Audio: The TrueHD soundtrack is efficient, but nothing special. I actually felt it should have been better than what we got as the explosions and action scenes failed to provide that “oomph” that I’m used to.
Commentary with Lucas Foster and Alan Siegel: This was a surprisingly informative commentary, which you usually don’t get from producers. But they offer a ton of insight into the film and discuss some of the more complex themes. They might have an inflated opinion of the film, but it was still a nice commentary track.
The Justice of Law Abiding Citizen (6:15): I was a little surprised by this featurette, only because I thought it was very interesting and original. Basically, they bring in an LA prosecuting attorney and have her discuss the details of the case in the movie and the various options, and possible outcomes, in the film. This was a very cool featurette.
Law in Black and White (15:06): They couldn’t go too long without having a failure and sure enough, they have a 15 minute featurette in black and white. Everyone shows up for a pretty basic behind the scenes featurette (aside from the fact it’s in black and white). They offer a few interesting tidbits, but overall it’s fluff.
Preliminary Arguments: Visual Effects Progressions (7:48): This is actually six separate featurettes that all deal with various special effects shots and how they were filmed. There’s nothing too fascinating here.
I remember before Amelia was theatrically released there was all this Oscar talk about the movie with Hillary Swank possibly up for her third nomination. The film was released and it mysteriously disappeared like the real Amelia Earhart. I now know why.
AMELIA is the story of Amelia Earhart (Hillary Swank) and her rise as one of the first truly ambitious female pilots. The story follows her as the first woman to fly across the Atlantic and how she became America’s sweetheart. She was thrust into the spotlight doing advertising and giving inspiration to women everywhere. In the midst of that she married her promoter George Putnam (Richard Gere) and had an affair with fellow flight enthusiast Gene Vidal (Ewan McGregor). She eventually gets the best navigator to join her on an attempt to fly around the world.
As a kid, I always had a tinge of curiosity about Amelia Earhart- she’s from my home state of Kansas, she was a pilot, she disappeared over the Pacific trying to fly around the world and I went to school with a kid who was related to her in some fashion and was learning to fly at a very young age. Those are positive thoughts about a great woman in American History. Now when I hear her name I’m going to think of an extremely boring movie.
The film felt very stagnate without any real driving action or purpose. The characters didn’t have any true development. They were more like cardboard cutouts. Everything seemed nice and safe without any real problems or danger. Even the hint of an affair that Amelia has is glossed over like it wasn’t really any hardship for anyone. The only suspense consisted of the characters talking about how her flight would be dangerous and how she was a thrill seeker, but then it’s her in a plane flying peacefully. I understand there are dangers to flying solo but they are mostly unseen and don’t transfer well visually. In fact, I felt that many times danger was forced into the story. One scene in particular is like a three stooges routine where they keep almost falling out the door of the plane one after the other.
The acting was decent. After looking at old footage of Earhart, Hillary Swank completely looks the part. Richard Gere however, is the one actor who seems to slip in naturally making the character seem more like a real person than what the story provides. Visually the film looks fantastic. Everything pops out and the plane flying in the skies throughout the world were intoxicatingly beautiful like fish in a fish tank only a little less interesting.
The film basically consists of everyone else doting on Amelia and Amelia is happy to accept the compliments. This is a case where the film makers liked their subject so much that they refused to give the character flaws or step back and see what is actually interesting.
BLU-RAY REVIEW
Video: The 2.35:1 Widescreen transfer looked magnificent. This was the one major thing the film had going for it.
Audio: The 5.1 DTS-HD audio track was also solid. It was very clean and crisp.
Deleted Scenes (13:53): More pointlessness, however, it is interesting that most of these scenes contain Virginia Madsen (SIDEWAYS) as George Putnam’s (Richard Gere) wife before he married Amelia. Apparently her part got cut from the film. It was definitely needless and took away from any emotion you might feel for the two leads relationship.
Making Amelia (23:06): This is mostly the actors and director talking about Hillary Swank becoming Amelia. The second half is the other actors and their character then the scenery as a character.
The Power Of Amelia Earhart (10:45): Basically all the people involved in the film talk about how great Amelia is and how empowering she was to women.
The Plane Behind The Legend (4:33): “Without the Electra (type of airplane Amelia flew) we would have no movie.” No kidding. This is about the difficulties they had finding and using the plane which was so vital to the movie
Re-Constructing The Planes Of Amelia (6:36): The challenges of making old planes that don’t exist anymore for the accuracy of the film. How they constructed them so they would be easily moveable.
Movietone News Reels: (6:35) These were actual old footage news reels that were played before movies back in the day. They are each extremely short but interesting. I like seeing old footage.
It’s strange, but my biggest problem with COCO BEFORE CHANEL is clearly expressed in the title of the film; this is about Coco Chanel before she started her Chanel empire. As we’re following Gabrielle (Coco) from her early days at an orphanage to her days in Paris, I kept wondering how exactly she started, or was going to start, her huge fashion empire. I appreciated the love stories and the political commentary on social classes in France, but I was most interested in how this timid, mild mannered woman became one of the most famous fashion icons in history. If you’re not familiar with Audrey Tautou, then you’re missing out on one of the best actresses of our generation. She’s captivating as Coco and I was impressed she was able to downplay her cuteness and peppiness for the character.
We meet up with Gabrielle ‘Coco’ Chanel at a very young age as her father drops her and her sister off at an orphanage. The early scene is brief, but it sets the standard that Coco is alone and probably always will be. We fast forward to a point where she and her sister are singing and dancing in a local club in a small French town. This is where the film starts diving too far into the social structure that was prevalent in France at the time. She and her sister couldn’t marry wealthy because back then; wealthy had to marry wealthy. But that didn’t stop Coco from trying to break into that world and perhaps it inspired her to work harder and make something of herself.
When not focused on Coco’s frustration with the social rules of the time, the film is really centered on her relationship with two men; Entienne Balsan (Benoit Poelvoorde) and Arthur Capel (Alessandro Nivola). Entienne is the man that helps Coco break into the higher social class, while Arthur is her true love. There are environmental factors, and her own ambition, that prevent her from being with either and the film attempts to paint Coco as a wounded heart that struggles to find happiness. I had issues with that because her unhappy love life was partly due to her own ambition and desire to make it on her own. Many of us have suffered similar fates by following our dreams or ambition and it’s a sacrifice we have to make. So I felt the emotions that director Anne Fontaine tried to elicit from that sacrifice were forced and I found myself unsympathetic to Coco’s plight.
But the biggest issue is that the film stops right before it gets interesting. We barely get a glimpse of Coco in true form and aside from a montage of her inspecting models on their way to a fashion show, we don’t get any look at Coco the icon. I realize the point was to tell the story of her before her elite status, but I still have no idea how she started her fashion line and how she built it into an empire. I would have liked to see less of her relationship with Balsan and more of her as a businesswoman.
I would really like to recommend the film to fashion fans, but there’s very little fashion in the film. We get to see Coco wear some variations of her famous outfits throughout the film, but the story is really about her relationship with two different men. Unfortunately, I couldn’t connect with her relationships and found myself wanting to learn more about Coco Chanel and not Coco before Chanel.
BLU-RAY REVIEW
Video: The 2.35:1 widescreen video presentation is incredible and I often times felt like I was in a theater. The colors weren’t as vibrant as some Blu-ray fans are used to, but the transfer was still impressive.
Audio: The French 5.1 DTS-HD was also nice, but this is a dialogue-heavy movie, so it wasn’t used to its full capacity.
Commentary with Anne Fontaine, Philippe Carcassonne and Luc Barnier: I’m grateful for every commentary track, but reading subtitles from three commentators is tiring and it’s very hard to decipher who says what. But once you get past that, the three participants give a very detailed and informative commentary on virtually every aspect of filmmaking. I would have liked to hear more about their creative decisions with the script and story, but I did enjoy this.
Walking the Red Carpet: From Los Angeles to New York (7:50): It looks like they went all out for the premieres of the film and this featurette gives you a glimpse at the two premieres. There wasn’t much to this, but it was a nice, short featurette and was okay for what it was.
Coco Before Chanel “The Meeting” (18:18): I wanted a more in-depth look at who Coco really was, with maybe some interviews from people that knew her or worked with/for her. Instead, this was the closest we came and although enjoyable, I felt this to be a bit of a letdown. The cast and crew talk about the woman, but we didn’t get much insight.
The Making of Coco Before Chanel (46:48): This actually seven separate featurettes, each covering a specific aspect of the film. They’re all pretty consistent with what you expect in making-of featurettes; plenty of interviews and compliments about the people involved. It did show a lot of behind the scenes footage, which was nice.
I’m a huge fan of music bios. I find the life of a musician to be fascinating, especially when that musician manages to combine fame and fortune with an immense talent. Much like the previous year’s RAY and Ray Charles, I went into WALK THE LINE with virtually no knowledge of Johnny Cash. To me, he was an old time country singer that neither appealed to me nor interested me in any way. Of course, nowadays Ray Charles and Johnny Cash are staples on my iPod and I can’t believe I went so long without being exposed to their life and music.
In most music bios, it comes down to a single performance by the actor or actress playing the title character. But in the case of WALK THE LINE, the film was carried by both Joaquin Phoenix and Reese Witherspoon. The beauty of the film was the ability of Phoenix and Witherspoon to make you forget you were watching Johnny and June Carter Cash. That sounds weird, but whenever you watch a movie based on real people, sometimes the actors portraying those people spend most of their time mimicking their actions rather than creating their own characters. It’s a fine line for sure, but Phoenix and Witherspoon managed to create two characters that we already knew and add themselves into the character to create people that were more than just a face on a CD.
Of course, it helps that Johnny Cash had a pretty fascinating life. He had the normal quick rise to fame, the subsequent drug abuse, finding and losing love and then redemption that all great musicians seem to experience. I guess the difference is that we never stop liking Johnny through his transgressions and we constantly root for him and June to make it. In other bios, we sometimes start to dislike the lead character as they make stupid decisions or fall into various pitfalls. But director James Mangold managed to keep Cash likeable, which was due in large part to meshing Johnny’s hardest times with June Carter Cash. As June, Reese, in an Oscar winning performance, provided the inspiration for the audience and the balance to the troubles Cash was going through.
On top of all the great aspects of the film, the music was wonderfully performed by Joaquin and Reese. Having actors perform the songs is a great trend Hollywood is in and makes for a much more believable film. If you haven’t been exposed to the music of Johnny Cash because you don’t like country music, give the film a try and I think you’ll be surprised. Cash was more than just a country music singer and his influence is felt in all music styles today. Mangold managed to use Cash’s music at opportune times throughout and we never got the feeling that we were just watching a concert. The music scenes in the film were necessary and really moved the story forward. It’s hard not to be impressed by the film, especially with the incredible performances from Phoenix and Witherspoon. Fans of Johnny Cash should be pleased and people that weren’t fans before will surely be after experiencing WALK THE LINE.
BLU-RAY REVIEW
Video: The 2.39:1 widescreen video transfer looks wonderful and I guess I didn’t notice it in the theater or on DVD, but Mangold did a really good job of using colors in opportune times (mostly with June Carter-Cash).
Audio: The audio is also outstanding and huge upgrade over your DVD. I would have preferred a 7.1 mix, but the 5.1 DTS-HD was definitely impressive.
Commentary with James Mangold: I appreciate all director commentaries, but Mangold doesn’t provide one of the better ones. He gets a little dry at times and I found his tone to be a little difficult to listen to at times. He offers some decent insight, but I wouldn’t say this is worth a listen.
Deleted Scenes (23:12): I’m torn on the merits of these scenes. In the extended cut on the film (shame on Fox for not including that on the BD), I liked them included, but having them on the BD is just as well. They’re pretty good scenes and probably should have been in the final cut.
Folsom, Cash and the Comeback Featurette (11:46): His concert at Folsom is one of his most famous and here some musicians sit down and talk about the impact it had on music. I didn’t know much about this and found this featurette to be interesting.
Celebrating the Man in Black: Making of Walk the Line (21:37): This is probably the least worthwhile of the special features. It rehashes a lot of what was in the film and features a few interviews with people talking about Cash.
Ring of Fire: The Passion of Johnny and June (11:25): Obviously, the relationship between Johnny and June was probably the best part of the film and this featurette talks about their real-life friendship. I liked hearing from people that knew them and getting their take on their relationship.
There is also a Trailer and some Extended Music Sequences.
I do enjoy watching historic events that I know nothing about told through film. It’s so much easier than when I was in ninth grade history class using every ounce of energy to fight the sleep caused by boredom. Sleep always won and my fight was pretty weak. THE LAST KING OF SCOTLAND is a fictional account, but one which incorporates real events. It tells the story of the erratic President of Uganda, Idi Amin, in 1970 and the influence of a young Scottish Doctor who gets a little too close to the situation. His regime became notorious for it’s brutality. By 1978 it was estimated that 300,000 Ugandans had been killed.
In the early 1970s, Nicholas Garrigan (James McAvoy) is a young idealistic Scottish doctor, who comes to Uganda to assist in a small hospital. By chance, he is called upon to medically assist the new President, Idi Amin (Forest Whitaker), who promises a golden age for the African nation. Idi Amin immediately is drawn to Garrigan and offers him a senior position in the national health department and to be his personal physician. From there he quickly becomes one of Amin’s closest advisers. As time passes, Amin becomes increasingly irrational, fearing assassination and not trusting anyone. His insanity affects Uganda in a murderous intolerable rampage. Garrigan begins to realize that he is in too deep with the aggressive dictator who will never let him go. If he really wants to make a difference he must take risky actions that could mean his death.
The acting is nothing short of phenomenal. Forest Whitaker fully becomes President Idi Amin. I’ve always felt Whitaker was great actor and he finally received a role in which he gets to shine. Most of the time he plays a bit of a mousy, kind character. Here he has a massive presence, seemingly ten feet tall and could stand up to any actor. He pulls off a range of emotions as a charismatic yet horrifically terrifying dictator. His Academy Award is well deserved. James McAvoy is an actor who I think has a huge future. When I first came across him I had my doubts but he continues to prove me wrong. He has a likeable presence that the audience is able to get behind even if his character is in the wrong, which was a very important and fine line that this role demanded. He’s quickly becoming one of my personal favorite actors.
This is an exciting political thriller. It’s definitely Garrigan’s story and the director wisely leads us in slowly. With the help of McAvoy, we get on board with this character and join in on his adventure. There are a few character choices that I have a problem with, that the filmmakers no doubt took liberty to add a more exciting element. It’s about 30 minutes into the film before we are introduced to Amin, who’s presence over takes the film and leads us into a more fearful area for Garrigan and the people of Uganda. The music, cinematography and editing help push this story in a more edge of your seat thriller rather than a boring historic retelling.
BLU-RAY REVIEW
Video: The Widescreen 2.35:1 transfer looks great. The different colors worn by the people and land are vibrant and pop right out.
Audio: The 5.1 DTS-HD audio track sounds great especially with the Ugandan music that played throughout the picture.
Commentary By Director Kevin MacDonald: MacDonald is very informative, providing mostly information on some of the ease and difficulties of working in a smaller country and the tons of extras who actually thought Whitaker was their political leader. He gives specific stories with each scene and keeps things moving and interesting.
7 Deleted Scenes With Optional Commentary By Director Kevin MacDonald (11:53): The commentary is insightful to why MacDonald shot these scenes but all were rightfully discarded or cut down to the time seen in the film.
Forest Whitaker Idi Amin Featurette (5:59): A fluff piece with mostly clips from the film. We do get a couple of interesting insights from Whitaker.
Capturing Idi Amin Documentary (29:04): This is a very interesting look at the history of Idi Amin with some interviews from Ugandans who were present during his reign. It also is very candid on some of the truths and liberties the film made about the story. It explains what is real and not real which I appreciated, specifically about the affair from Idi Amin’s second wife who was never with the white man. I found this particularly interesting since I thought it was a weaker part of the story within the film.
Fox Movie Channel presents Casting Session – The Last King Of Scotland (8:36): Specifically about the Kevin MacDonald being chosen as director for the film then Forest Whitaker’s process of being cast as Idi Amin. He had his naysayers before his audition.
There are two opposing and competing elements of THE TIME TRAVELER’S WIFE; the love story between Henry and Clare (Eric Bana and Rachel McAdams) and Henry’s uncontrollable time travel. The work is really cut out for director Robert Schwentke as he tried to tie these two elements together to create an enjoyable film. We’ve seen time travel movies before and we’ve definitely seen love stories, but we’ve never even seen an attempt at combining them. After watching this, I think the answer is clear why it’s never been done.
At the age of six, Henry experiences his first time travel, right before his mother dies. Through his travels, he meets and falls in love with Clare, although how they met and how exactly that worked out was never really defined. In fact, nothing about Henry’s “condition” is really explained and any attempt on his part to find answers or control his time travel is barely addressed. It’s just something we as an audience have to accept. When he finally meets Clare in “real time”, they discover that having a relationship is pretty difficult when your spouse vanishes out of thin air on a completely random basis.
The love story between Henry and Clare is really the heart of the story, but any emotional scene between them felt forced. Bana and McAdams had zero chemistry and there were too many environmental factors playing against their love for the audience to truly connect. However, the most powerful scenes were of an adult Henry meeting his mother on the subway and of Henry meeting his daughter at the zoo. Strangely enough, neither of these scenes featured McAdams and that’s because the best parts of the film centered on how Henry dealt with the time travel. I wanted to know more about things that happened to him and how he dealt with it and less about Clare. I was okay with their love story, but it should have been more of a subplot than a focal point.
However, I will say that there are some emotional moments in the film, even if they didn’t completely pull at your heartstrings. I found myself wanting to care more than I actually did care. We had to root for these characters but because of some of the elements of the film, we knew how they were going to end and where the story was going. If not for a really good performance from the young Hailey McCann, it would have been tough to get through the third act altogether.
At the end of the day, science-fiction fans will struggle buying into the time travel aspect because they left too many things unaddressed and glossed over too many of the intricacies of time travel. There are several time loops and plot holes that left me scratching my head. However, it was clear that the focus of the film was on the love story with the time travel as a backdrop, but that just didn’t work. As it was, the time travel distracted from the love story and therefore we were left with two halves of a film that were very underdeveloped.
BLU-RAY REVIEW
Video: I have to say that the 2.40:1 Widescreen transfer felt a little flat to me. Black levels were weak and the colors were a little saturated at times. It’s a Blu-ray, so it still looked good, but compared to other WB releases, I was disappointed.
Audio: The 5.1 DTS-HD soundtrack wasn’t used to its fullest, mainly because this is a dialogue-heavy movie. But the few instances that it was pushed were fine.
An Unconventional Love Story (26:55): Surprisingly, this little featurette did a lot to develop Henry’s character, which was one of my complaints of the film. They use a lot of movie clips interspersed with some behind the scenes shots. This is better than your standard making-of featurette and fans of the film (or maybe even the book) will enjoy this.
The Time Traveler’s Wife: Love Beyond Worlds (21:06): Again, this featurette covered some of the problems of the movie, most notably the difficulty of filming time travel and incorporating that into a love story. The screenwriter (Bruce Joel-Rubin) talks about the challenges and how he overcame them (in his opinion). I thought this was pretty interesting, even if I didn’t agree with his success level.
Watching other people cook on television is either something you like, or just can’t understand. Before the Rachel Ray made the Food Network famous, Julia Child was the cook to watch on television. She paved the way for Ms. Ray and the Iron Chef’s of America. In general, cooking shows are for a niche market and I’m sure people may have been wary of a film that was focused on cooking, but JULIE & JULIA is more about the women and not so much the food. Although you will probably be hungry after you watch the movie.
Julie Powell (Amy Adams) decides to make a commitment by writing a blog based on her culinary experiences as she cooks her way through Julia Child’s (Meryl Streep) ‘Mastering the Art of French Cooking’. The movie follows her story over a year as she cooks French cuisine as well as Julia Child’s story as she writes the book and grows into the legend we know today. The film follows two stories from two women that are intertwined with food and personal growth.
I will say that the movie JULIE & JULIA is nothing like the book it was based on. In the book the character/author Julie Powell takes us through her year long journey but with more vulgarity and whininess. Thankfully, Nora Ephron understood the need to add Julia Child’s story into the plot because two hours of listening to Ms. Powell whine about cooking and having nervous breakdowns over food preparation would just be too much. However, with that said, Julia Child is no saint herself and although she was played wonderfully by Meryl Streep, she is equally annoying to watch at times. The one complaint about this film would be the characters themselves, but since their stories were given to us in short increments, the women were more tolerable to watch.
Ms. Ephron did an amazing job of balancing the film and making the two stories meld together seamlessly. The way she developed the two characters without focusing on one more than the other was perfection. She made two women come to life and made the food an important and defined character as well. The acting was also amazing and the visuals were stunning. Sets, costumes and entrees were done beautifully and everything put on the screen was a pleasure to watch and candy for the eye.
I would recommend for Ms. Streep’s performance alone. She is spot on as Julia Child and it would have been easy to watch more of her in this role. The one downfall is Julie Powell and although she accomplished a great feat (524 French recipes in 365 days is an incredible accomplishment) her character was just too whiny and if it weren’t for a portrayal from the adorable Amy Adams, this movie wouldn’t have done so well.
BLU-RAY REVIEW
Video: JULIE AND JULIA is presented with a striking widescreen 1.85:1 transfer. This near-reference quality video makes the multitude of colors shown throughout the film pop right off the screen. Given the colors and the complexity of some of the scenes, this is one of the better video transfers I’ve seen.
Audio: The audio was also quite impressive and the 5.1 DTS-HD audio track was crystal clear.
Commentary with Writer/Director Nora Ephron: Although there are some pauses throughout the film, the commentary Nora Ephron gives is interesting to listen to. She gives a lot of little tidbits of info that are great fun. If you want another view of the film, then I would recommend watching this because listening to Ephron is a treat.
Secret Ingredients: Creating Julie & Julia (27:44):A making of featurette that wasn’t too bad. Some movie clips make their way into this segment but it’s really more behind the scene footage that’s being shown. There are a lot of good interviews from Ephron, Julie Powell as well as the producers and actors, and they give a lot of good background information. Definitely worth the watch if you liked the movie.
Family and Friends Remember Julia Child (47:39): This is a long featurette about friend and family who reminisce about their moments with Julia Child. This is good if you are a fan of Julia or are endeared by her journey, but I found it to go on a little long. There are some great stories and photos and would be a great companion to the book My Life in France.
Julia’s Kitchen (22:31): This is about the procurement of Julia’s kitchen by the Smithsonian Institution. This was a cool featurette to add to the Blu-ray, especially if you love cooking. I really enjoyed this and though it was a fascinating watch.
Cooking Lessons: Featuring Julia Child and other chefs (22:52): These are five cooking lessons from Julia Child or her associates, and they are each led by the coordinating scene from the film or another appropriate movie clip. If you’ve never seen Julia Child cook, or just enjoy watching cooking shows then these are fun to watch as they are one dish and are right to the point. Not all of them include Julia, but with each we get a bit more information about her.
There are also some Previews and a MovieIQ with Julia Child’s original recipes
It didn’t take long to realize that something was seriously off with William Friedkin’s TO LIVE AND DIE IN L.A. After the quick, somewhat worthless, initial “action” scene, we dive into the opening credits. It’s important to set the mood here, so imagine you’re watching a dark, gritty crime drama in the vein of DIRTY HARRY or BULLIT and then these hot pink and neon green credits flash on the screen that feel more like something you’d see in a cheesy 80’s comedy. Then add in an even cheesier, bad 80’s pop song that you’ve never heard before and your mind is instantly fighting what your eyes are seeing. All of this from the same guy that brought us THE FRENCH CONNECTION?
The premise of the film is tried and true; after his partner is gunned down two days before retirement, Richard Chance (William Peterson) sets out to hunt down Eric Masters (Willem Dafoe), the man that killed his partner. John Vukovich (John Pankow) is an uninitiated agent that isn’t ready for the intensity that comes with working with Chance. The bad guys are really mean and the cops are pushing the edge of the law. They even had a pathetic girlfriend (Debra Feuer) that even the most anti-feminism people would have to be offended by. The basic storyline has been done many times before (by Friedkin, might I add) and hundreds of times since.
So the pressure is squarely on William Peterson to pull off the detective-pushed-to-the-edge motif and for Dafoe to pull off the bad-guy-with-no-morals cliché. I didn’t mind their characters and both actors did fine with their roles but Peterson lacked the charm and charisma necessary for me to get involved with his plight. There was also an attempt to make him a thrill seeker that needed more than him bungee jumping off a bridge and then flashing back to it during a car chase.
But if it wasn’t for the misuse of music, I could’ve chalked this up to just a dated movie with some holes. It wasn’t just the cheesy 80’s pop music, the background music felt like BEVERLY HILLS COP, not a gritty crime drama. I understand that the 80’s were famous for things like that, but in a film like this, it was just embarrassing. For that, I blame Friedkin. He should have known better and should have realized how out of place it was.
Aside from the horrible use of music and the lack of development with Richard Chance, the entire third act of the film failed. At the end, I was confused as to what kind of statement Friedkin was trying to make. Because the ending relied very heavily on John Vukovich, who was almost a forgotten character the first two acts. I understand the idea that even a weak cop that’s pushed to the edge can start to live recklessly, but if that’s what they were going for, we needed more focus on Vukovich that what we got. Instead, all the focus was on Chance and then his character never had any arc or resolution. The entire film featured poor editing and directing, which is disappointing given Friedkin’s previous works.
BLU-RAY REVIEW
Video: Widescreen 1.85:1: You can’t be too hard on a studio for a weak transfer of a movie they knew wasn’t going to be flying off the shelves. That, and the film is 25 years-old at this point, so there are going to be some imperfections here and there. Overall though, it wasn’t for what it was.
Audio: The same holds true for the 5.1 DTS-HD audio track; it’s good, but not great. Of course, with the horrible 80′s music pounding through my head, I would have preferred no sound, but that’s a different story.
Okay, so it’s not like there’s a whole lot of special features here, but what’s frustrating is that they include everything on a separate disc. In fact, I’m betting that this is the exact DVD of the film. You can’t even watch the commentary in HD, you have to watch the whole film over again in standard definition. I don’t want to be a movie snob here, but there’s a reason I upgraded to Blu-ray.
Commentary with William Friedkin: Once I got past the idea of watching the move again in SD, I realized that Friedkin gives a good commentary to the film. I wanted more of an honest, open analysis of his movie, but he mainly sticks to talking about the shoot and the characters, etc.
Deleted Scene and Alternate Ending (13:06): Meh, I wouldn’t say that either of these were earth shattering. It was nice to have them included, but they didn’t change my opinion of the film.
Counterfeit world: The Making of To Live and Die in L.A. Documentary (29:52): This is a pretty standard making-of documentary, but sometimes documentaries on older films are better because of all the old footage. This one does a pretty good job of including interviews and some stock footage. It was informative and definitely worth the time if you’re a fan of the film.
This is not a romantic comedy. In the previews, Jennifer Aniston was shoved down our throats and this was made to look like a cutesy rom-com where everyone is happy and love conquers all. But this film is actually a wonderful character study on a man that lost his wife and has to go to great lengths to get over her and move on with his life. It’s touching, sad, fascinating and moving without being overly sentimental. And even though Aniston is the lead actress in the film, her role is minimal and her normal, annoying personality is kept in check.
Three years ago, Burke’s wife died in a car crash that he managed to walk away from. Devastated by the loss, Burke wrote a book about how to cope with the loss of a loved one. That book turned into a national phenomenon and now Burke tours the country, doing seminars that help people deal with death. When he finally returns to Seattle (where he lost his wife), he stumbles upon a cute florist (Jennifer Aniston) who manages to get close enough to Burke to realize he hasn’t even begun to try and get over the loss of his wife.
From there, Burke is forced to cope with the feelings, accept his hypocrisy and find a way to move on with his life. This is where Eckhart excels in these small movies; he creates a very relatable character and even if we haven’t experienced a loss, we can at least sympathize with his plight. He shines in big films like THE DARK KNIGHT, but where he really captivates audiences is with his small roles like this and BILL. He has an everyman quality to him that transpires on screen and he makes us feel like he’s one of us and that what he’s going through is something that we could be going through as well.
Screenwriter and director Brandon Camp had his work cut out for him with a movie like this. He had to make Burke likeable but not pathetic. The relationship between Burke and Eloise had to be realistic, but not disrespectful to his late wife. Burke’s confrontation with his feelings had to be natural and not gimmicky. The list goes on, but you can see how this film constantly teetered on the edge of quality storytelling and sappy filmmaking. But Brandon walked that line wonderfully and was able to keep the story grounded without making it hokey.
There were a few elements I could have done without. I thought Judy Greer’s character was a little unnecessary. I like Greer as an actress, but her character was a little distracting in a film like this. If they needed to give Eloise a friend, they should have gone the quiet, background friend instead. Greer was loud and she commands too much of the screen to be effective in such a tiny role.
If you’re like me and you’re expecting this to be another lame, Hollywood romance, please leave that expectation at the door. I think this film will surprise a lot of people that go in with the right expectations and know what they’re getting into. It’s a nice little film and Eckhart shines once again.
BLU-RAY REVIEW
Video: The 1.85:1 transfer felt a little saturated at times, but was an overall nice presentation. The film takes place in Seattle (although many scenes were shot in Vancouver) and both cities are notoriously dark and dreary, so there were a lot of grays and dark colors through the film. The use of color was effective and usually shined in the film.
Audio: The 5.1 DTS-HD audio was also very nice, even though this is a dialogue-heavy film. Front channels are primarily used, but the few instances of surround channels were nice.
Commentary with Brandon Camp, Mike Thompson and Rick Solomon: Brandon leads the commentary and the three of them offer a ton of inside quirks in the film, including where they shot various scenes and some of the behind the scenes drama that went on. Overall, this was pretty good commentary from people that are very proud of the film.
Deleted Scenes (13:07): Aside from three really awkward scenes with Eloise’s ex-boyfriend, none of these scenes would’ve impacted the film positively or negatively. But those scenes with the ex were horrible, so a good job to the director or editor that decided to take them out.
Giving Romance a New Look (3:02): For a three minute featurette, this was actually really great. Surprisingly, they used a lot of special effects in such a simple movie. This featurette looks at all of the different scenes and shows them with the effects and without. It was really cool to see the difference.
There’s a scene early on in WHIP IT when Bliss Cavendar (Ellen Page) is on a shopping trip to the big city with her mother and a group of girls come skating into the store they’re at. Director Drew Barrymore filmed that scene with a mastering that many seasoned directors couldn’t pull off. In that simple sequence, we understood everything we needed to know about Bliss; she was living a life she didn’t want and in that moment, she found a calling that could lead to life she did want. I don’t want to be overly sentimental in regards to a film about roller derby, but this was one heck of a movie and was an absolute joy to watch. Great characters, great scrip, great performances and an outstanding effort from first time director Barrymore.
Bliss is trapped in a small, Texas town, completely held by her 1950′s-esque mother and forced to participate in beauty pageants, which we can tell she hates. When she discovers the roller derby league in a nearby city, she concocts a lie that will allow her to participate. During this time, Bliss meets people she’s never encountered, joins the team and even meets a boy. Elements of this story are familiar in many sports movies and coming-of-age films about high school students, but WHIP IT manages to combine some elements in a fresh setting that makes you feel like you’re seeing it for the first time.
The greatest element to this film is Barrymore’s ability to capture the essence of a young adult that’s desperate to escape her current life. Many of us have been her exact situation in which we feel trapped and helpless by our environment, friends, family, job, etc., and some of us were lucky enough to find something that allowed us to break free of those trappings. That’s why Bliss is such a likeable character; everyone (men and women) can relate to her.
The trick to breaking free is to get away without completely alienating your family and that’s what Bliss learns towards the end. It’s spelled out to her by Maggie Mayhem (Kristen Wiig) perfectly in a speech that could have been horrible but ended up fitting in perfectly. That credit goes to Shauna Cross, who wrote the screenplay and the novel the film is based on. I’m of the belief that original authors should always write the screenplays, most notably because they truly understand the characters they’ve created. Ms. Cross lends a lot of credit to my theory and her screenplay could have been embarrassingly cheesy in the hands of a lesser author. As it is, I’m truly disappointed she hasn’t received more credit for her work.
I was truly impressed by this film and I feel safe in saying that it’s one of the better sports movies we’ve seen in many years. It sounds crazy, but this little film about women’s roller derby touched on more thematic elements than 95% of the films out there about football, baseball or basketball. WHIP IT is a treat and has even inspired me to break out my old skates. And no, they don’t have Barbies on them.
BLU-RAY REVIEW
I have to vent for a second and say how disappointed I am that we didn’t get a commentary from any of the actresses or even Drew Barrymore. This is one of those times where I know Barrymore would have had a lot to say about her first directorial effort. But even a commentary from Shauna Cross would have been nice.
Video: Widescreen 2.40:1. Fox continues to impress me with the quality of their new releases. WHIP IT has a dark, sometimes smokey setting and I was concerned the black levels would lose definition. Thankfully, the video presentation was top notch and the film looked wonderful.
Audio: The DTS-HD audio track was also nice and those with a nice surround setup will enjoy the crowd noises during the derby scenes.
Deleted Scenes (16:14): You have to feel for Alia Shawkat after watching these scenes since most of them served to develop her character. It turned out to be a good thing because a lot of these would’ve just slowed down the film. However, unless your a big fan of Shawkat (I loved her on ‘Arrested Development’), I don’t think you’ll get anything out of these.
Fox Movie Channel Presents Writer’s Draft: Shauna Cross of Whip It (3:04): Note to Blu-ray producers; you can’t have a three minute featurette and have nothing but movie clips in it. I saw this on the back cover and was pretty excited to hear something from Shauna Cross. What little I heard was really great, but I wanted more. Cross was very passionate about her film and she had a lot of enthusiasm with in only 3 minutes.
It’s tough to discuss anything about Michael Jackson without immediately going into a conversation about the man’s troubled life. Try mentioning to someone that you love the song ‘Billie Jean’ and within moments, you’re sure to be debating his molestation accusations. And this isn’t a recent trend, 20 years ago, people were obsessed with his Neverland Ranch and his pet monkey. Throughout the man’s entire life, people have constantly lost sight of his brilliance as a musician and focused on other parts of his life.
That was until he passed away in the fall of 2009 and then the same media hounds that crucified him for the past 15 years now wanted to pass him off as a saint. So it was with much trepidation that I sat down to watch THIS IS IT. The way I see it, you have Michael the man and Michael the artist. Given the uniqueness of who Michael Jackson was, it’s important to separate the two. With that in mind, THIS IS IT is a great homage to Michael the artist. Lost in the drama surrounding Michael the man is the fact that Michael the artist was absolutely amazing as a musician. I don’t mean impressive, or very good, I mean he was jaw-dropping phenomenal. Love him or hate him, his prowess on the dance floor and ability to sing (at the same time) were unquestionably breath-taking.
The film, however, is pretty average. It benefits from having a great subject matter and a timely release, but the actual construction of the film is pedestrian. Director Kenny Ortega had his hands tied in the sense that he had to put a movie together from footage that wasn’t intended to be an actual movie and I’m sure he also felt pressure to include full dance/song sequences. After all, we don’t want to see people talking about Michael, we want to see Michael. With that goal in mind, Ortega succeeded in showing us plenty of Michael singing and dancing to his greatest songs.
But the gem of the movie came when we saw Michael talking to dancers, backup singers, keyboardists, stage hands or anyone else involved with the show. The tagline says “like you’ve never seen him before” and that couldn’t be more accurate. We, as an audience, are used to seeing a shy, subdued Michael. In his element, he is a commanding, authoritative leader that knows what he wants and why he wants it. I was most impressed with these scenes and I wanted more, especially when he was on stage. I liked hearing him direct people while he went in and out of song.
The movie had done a pretty good job of focusing on Michael the artist until the last 5-10 minutes. As soon as they started the song ‘Man in the Mirror’, Ortega couldn’t help but play a clip of Michael preaching about the environment and love and all the things that have made him a punch-line for so many years. It was so important to focus on Michael the artist and I hate that they ruined what could have been a perfect separation of man and artist. For 90 minutes, I was transfixed on Michael the artist, but sure enough, as soon as the credits rolled I became involved in a conversation about Michael the man. I don’t know what about him was fact or fiction, but I do know that he was a great musician and a talented performer and that’s how I want to remember him.
BLU-RAY REVIEW
Staging the Return (40:47): Travis Payne, one of the choreographers, talks a lot through a lot of this featurette, which is basically focused on the events leading up to the start of his London performances. It’s nice, but it almost felt like a commentary that splits interviews with the film. This would have been a good time to show some of the footage that ended up on the cutting room floor, but instead they chose to use a lot of scenes from the movie.
The Gloved One (15:14): This one focuses on Michael’s wardrobe. It may sound boring, but it was actually really neat to see the clothes they had planned for Michael to wear. I always thought that Michael’s outfits were crazy, but he managed to make them work. This was a pretty cool featurette and the clothes were crazy.
Memories of Michael (16:19): This one takes a bit of a somber tone because people are talking about their views of Michael. It’s a little overly sentimental and staged, because the people they’re talking to were all involved with the show. But Kenny Ortega tells a good story about a phone call from Michael. And that’s really where this featurette shines; when people tell their stories about first meeting him.
Auditions: Searching for the World’s Best Dancers (9:50): Dance fans will appreciate this featurette about the search for 11 backup dancers. They go from 600 to 200 to 11. In the film, I thought hearing from the dancers was pretty cool since they worked their whole life for a chance to dance with Michael. This was a very cool featurette.
Thriller and Smooth Criminal Vignettes: For a few songs, they filmed mini-movies that were to show in the background. This is the complete look at those, which is a great, great special feature. These were a lot of fun and you can just imagine how cool this would have been to see on the big screen, right before Michael came out and sang the songs.
Making Smooth Criminal (11:09): This is simply the making of the new video for Smooth Criminal. It had new interviews, but it could have been inserted into the main featurettes and that probably would have been better. But the song is one of my favorites, so it was nice to get some extra information on the making of the mini-film.
There is also the Theatrical Trailer and some Previews
Many action films have drafted a bomb-diffusing scenario in which our hero has to cut a wire and save the day. These situations can be humorous, sad, intense or any other range of emotions, depending on what the tone of the film is. The first 70 minutes of THE HURT LOCKER is basically a collage of bomb-diffusing scenes. The difference, of course, is that the “hero” is grounded in reality and if something goes boom, everyone is going to die. The bomb diffusing scenes in THE HURT LOCKER are filmed exceptionally well and are easily some of the best in film history. Unfortunately, director Kathryn Bigelow forgot one important thing; character development.
In order for us to really get into the action and to sweat it out with our heroes, we needed to really care about their plight. Apart from the normal concern we all have for our troops overseas, we just didn’t have much emotional investment in the characters. I mention the 70 minute mark because that was the first time we learned anything about anyone in the film. We knew early on that SSgt William James (Jeremy Renner) was a wild man, Sgt. JT Sanborn (Anthony Mackie) was just trying to get home and Spc. Owen Eldridge (Brian Geraghty) was the kid trying to pull it together. All of your standard war movie clichés are represented, but they’re wrapped together nicely in this. Each of them had some deeper issues but we didn’t start cracking them open until 70 minutes into the film. At which time, many of the most intense scenes had already taken place.
The other issue with the film is that there is no mission. Yes, I’m fully aware of the horrible and unsafe job our bomb squad troops face every day, but if Mark Boal (screenwriter) had wrapped their job around a specific mission (BLACK HAWK DOWN or SAVING PRIVATE RYAN for example) we could have been more involved in the story. Instead, it was like Groundhog Day where every day is the same. They go out, diffuse some bombs, get drunk and repeat. I’m sure that’s close to what really happens, but it’s not enough to make an excellent movie. There’s a scene late in the second act where SSgt James sneaks off base that was completely anticlimactic. It served to further the development of James, but given the time it took up and the emptiness of the scene, it felt completely unnecessary.
One of the themes that was advertised for the film was the idea that “war is addictive”, which is represented by SSgt James. This is an outstanding theme and one that I’ve found is true with troops that have served multiple tours. We feel that come through at the end and can infer it with James’ actions, but the filmmakers missed a great opportunity to really explore that hidden aspect of war by not developing it further.
But as awards season comes around, THE HURT LOCKER is being thrown out there as a favorite to grab a Best Picture nomination. As a film, I can’t argue. The acting was amazing in how natural and believable all the characters were. The cinematography and set designs were top-notch and Bigelow did a fantastic job with some of her choices. My problem is the story, or lack thereof and some good war moments couldn’t make up for that.
BLU-RAY REVIEW
Video: The Widescreen, 1.78 aspect ratio is presented beautifully on Blu-ray. Bigelow used a soft, gritty, grainy film texture, presumably to show the “dirtiness” of war. But there are several really dark scenes in the film and the black levels shine through very nicely.
Audio: The DTS-HD soundtrack is nice, but I did feel like it lacked just a tad. Bigelow was creative in how she showed different explosions and the ensuing debris that would fly around. I expected more use of the surround speakers and better utilization of the subwoofer. That said, it’s still a nice track.
Commentary with Kathryn Begelow and Mark Boal: This is a good commentary in that they have a lot to say and keep it rolling. They focus a lot on the character profiling and telling the story of these characters and, of course, I disagreed with their success in accomplishing that. I think they should have focused more on the research that went into the film and some of the people the encountered along the way, but they stuck more to the technical aspects of making a film, which is fine.
The Hurt Locker: Behind the Scenes (12:36): This is your typical behind the scenes featurette with cast and crew members talking about the movie as scenes from it are spliced in. Everyone speaks in generalizations (war is bad, war is chaos, etc.) and no real insight is offered into the film.
Much like Summer (Zooey Deschanel) is reluctant to ever put a label on the relationship she has with Tom (Joseph Gordon-Levitt), I’m reluctant to put a label on 500 DAYS OF SUMMER. It’s not a comedy, but it does have some humorous moments. It’s not a drama, but it has dramatic elements. If I have to give it a label, I’m going to call it a romantic dramedy. Yes, I just made that up, but this film doesn’t fit a mold of any particular genre, which is one of the many things that makes this a wonderful film.
Simply put, this film is about the 500 day-long relationship that Tom and Summer have. Like the announcer makes clear in the beginning; this is not a love story. If you want Sandra Bullock to realize she loves her crazy boss, then go rent a standard Hollywood rom-com. But if you’ve been wanting a film that explores the male-female relationship from multiple points of view with varying degrees of insight, then this will be a refreshing film for you.
This film, more than any other film I’ve seen, captures a true fact of human relationships, which is that when the relationship is good, it’s really good. But when the relationship is bad, it’s horrible. There’s a correlation there somewhere, but the idea the film portrays is that the more power you give someone to make you happy, the more risk you give that person to make you miserable. That’s the lesson that Tom has to learn throughout the film. Most of us have been in a relationship like that and what we think about it now is greatly dependent on how we choose to remember it (another lesson Tom learns).
Summer was a tough character to pull off given the fact that the film is very sympathetic to Tom. There’s a fine line between understanding her and hating her, but Zooey Deschanel was a perfect choice to pull it off. She’s naturally very likable and we as an audience are willing to give her the benefit of the doubt. Her cuteness and charm prevent us from ever hating her and therefore enough time passes for us to realize her actions were not malicious, they were just different from what our hero wanted.
What’s surprising about this film is the sheer number of “lessons” we watch Tom learn during the course of the relationship. Most films are lucky to provide a single insight into the modern relationship, but this film managed to give us multiple revelations that we haven’t seen before. Perhaps the most important lesson (and the one that is the hardest to learn) is that sometimes you need the help of someone else to allow you to grow as a person in order to be ready for when you finally meet someone special.
BLU-RAY REVIEW
Commentary with Marc Webb, Joseph Gordon-Levitt, Scott Neustadter and Michael H. Weber: I have a feeling that with the large fan base this film has acquired since its theatrical release, this commentary is going to go over really well. It’s an in-depth, fascinating commentary with wonderful comments about the film and the various aspects of making the film. I was concerned with having four people at the same time, and aside from confusing the voices, it was fine. Everyone had something to say and I was interested in most of what they said.
Lost Days of Summer: Deleted and Extended Scenes (14:42): Let me first say that all of these deserved to be cut. With that said, all of these were interesting. We got more of the interviews at the end and even an added character with Tom’s mother. With the extended scenes, most were minor changes, but again, the original scenes in the film were better. The highlight of the bunch was the “alternate” dance number, set to the same song, but this time much later in the relationship.
Bank Dance, Directed by Marc Webb (4:18): This is an entire musical number set to She & Him’s ‘Why Do You Let Me Stay Here’. She & Him, in case you don’t know, is Zooey Deschanel’s folk band.
Mean’s Cinemash: “Sid and Nancy/500 Days of Summer (3:28): Zooey Deschanel and Joseph Gordon-Levitt act out a couple of scenes from SID AND NANCY. The funny thing is that they switched gender roles, and “mashed” the film with 500 DAYS OF SUMMER; definitely an acquired taste.
Not a Love Story: Making-of Featurette (29:21): All of these are basically the same in that the filmmakers and various people involved discuss in general terms the merits of the film. But this one was enjoyable and most of the people involved opened up about the film and their involvement. In a slight change of pace, the people I enjoyed hearing from were the producers, Mark Waters and Jessica Tuchinsky and writers Scott Neustadter and Michael H. Weber. They talked a lot about where the story came from and how it came to be.
Conversations with Zooey and Joseph (12:26): Actors talking about acting can be mind-numbing, but these two keep it light and interesting while talking about the movie or their takes on acting. Seeing them discuss things together is much better than having them answering questions from a reporter. If you’re a fan of either of these actors, you’ll enjoy this.
Summer @ Sundance (13:46): It’s exactly what it says it is; a short featurette that follows the crew at the Sundance film festival. If you’re not familiar with the festival, or what it’s about, then this would be nice for you. I’ve heard most of this before (every small film goes to Sundance), so it wasn’t anything new.
Audition Tapes (6:01): Here we get two audition tapes from Matthew Gray Gubler (Paul) and Geoffrey Arend (McKenzie), who played Tom’s friends in the film. Both of them replicated their characters in the film pretty well, but audition tapes aren’t really my thing.
Filmmaking Specials (11:37): This is a giant hodgepodge of mini-featurettes that don’t fit in with anything else. I put the combined times, but the downside is that you don’t have the option to watch them all at once. You have to select each one individually, which is frustrating when the longest one is just over 3 minutes. Not all of them are interesting, but I was fascinated when Marc Webb talked about the color palettes in the film. Basically, he didn’t use primary colors and made a point to use blue whenever Summer was around.
Our Driver’s EDitorial is a weekly column designed to express our opinion on something going on in Hollywood today. Sometimes we whine and complain about something we wish was different, other times we heap praise on the system for getting it right.
The continuing battle of Hollywood studios and theater owners has taken a sharp, hostile turn with studios again testing the waters with earlier home video releases (this time, with CLOUDY WITH A CHANCE OF MEATBALLS coming out digitally). Hollywood is attempting to grow with their audience, which is demanding newer, fresher content than ever before while theaters are still trying to cling to antiquated business practices that have been dying for years. The end result is that studios are going to have to protect their products and investments and do what’s right for their customers. Theaters may not like it, but they will have a chance to grow and adapt to the market if they embrace modern business practices.
And yes, this editorial is taking a turn for the money/business side of Hollywood, but it’s an important subject and the outcome of this “battle” will affect all movie lovers. But before we get too far into it, it’s important to understand a little of the history of the disagreement. For those of you that were around in the early days of VHS, you probably remember that it would take a year or more for a movie to reach VHS after it came out at the theater. Even at that point, only a select few were available for sale. As VHS became more popular, that year-long window slowly shrank. By the time DVD’s came along, the release window was closer to 6-8 months. But DVD’s grew faster in popularity and studios began to realize they could make serious cash off them, so the window shrunk to what it is today, which is roughly 4 months.
So now, studios are more aware that their home video sales are more valuable than ever. But more importantly, studios know that the only week a movie really pulls in box-office cash is during its opening weekend (there are exceptions). So add the two together and it makes perfect sense that studios want to shorten that window to take advantage of a movie’s hype and maybe even combine advertising efforts, thus saving them more money. Oh, and now that digital downloads are starting to gain steam, the push to make movies available is greater than ever.
But it’s obvious why studios want this, the real question is; what’s going to happen to movie theaters? Theater owners are afraid that shortening that release window is going to discourage audiences from going to the theater and ultimately, they’ll be out of business. But over the past 10-15 years, major theaters have made ignorant business decisions that would make automobile manufacturers look like geniuses. When George Lucas was preaching digital projectors, theaters were scoffing. Imax, 3D? If you can find theaters with the capability, good for you. There’s been minimal investment in technology and the result is that your average American family can afford to buy a home theater system that rivals most movie theaters.
So where do we go from here? First, studios should feel free to release Blu-rays within 30 days of a theatrical release. People are always going to go to the theater and this way, studios and theaters will continue to make the bulk of a film’s profits from the theatrical release. Second, theater owners are going to have to restructure their business model. There’s no need to have a theater with 30 screens. Make the screens bigger, add Imax and 3D, improve the sound and take steps to reduce talking and eliminate annoying cell phones (all with financial investment from Hollywood studios). But most importantly; theaters are going to have to grow with the industry, not hold it back.
Since Michael Bay’s BAD BOYS in 1995, I’ve noticed a very common trend amongst movie fans; they all love to trash the guy, but they all line up to see his movies. This has led me to the conclusion that even though you’ll read Michael Bay trash talking everywhere, most people have a soft spot for the guy and actually enjoy his movies, despite their problems.
And they do have problems, so don’t get me wrong. But even though one minute I’m shaking my head in embarrassment over the horrible dialogue delivered by John Turturro one minute, I’m actually getting goose bumps from excitement the next minute as Shia is telling his dad he can’t go with him in the battle. That about sums up TRANSFORMERS 2: REVENGE OF THE FALLEN. It’s going to have plenty of scenes that are cringe-inducing, but more than enough fun moments that will make up for it.
The film takes place several months after the events of the first one. The Autobots are working with the government to hunt down and destroy Decepticons while Sam (Shia LaBeouf) is juggling his new relationship with Mikaela (Megan Fox) and starting college. Everything is going fine until he finds a shard from the cube and somehow it imprints images and memories into his brain that causes him to see symbols. We later learn that these symbols are actually a map to a global-destruction device that could end life on earth. So Sam and the Autobots must battle a resurrected Megatron and prevent the end of the world.
Some reviewers will have you believe the story is much more complicated than that. I’m not going to argue with them because it’s MUCH more complicated than that. But what I’ve done is made a conscious decision to not mention any plot point that doesn’t have an impact on the end of the movie, which is about 25% of the film. Yeah, there’s a human girl that’s actually a robot and it makes no sense that Sam wouldn’t be goo-goo over Mikaela, but we all know Bay gets bogged down in worthless points, so that’s what we get when we go into a Bay film.
What he does well is set up a sense of impending doom and then make everyone involved with protecting us from said doom look really, really cool doing it. Every time I see a Shia LaBeouf movie, I like him more and more. Bay couldn’t have picked a better lead actor and Shia has done so much with so little. The Transformers movies get 2 or 3 notches higher just because he’s the lead star. How great would he have been as Anakin Skywalker in the new Star Wars trilogy?
At the end of the day, if you like Michael Bay (even if you won’t admit it) and if you liked the first Transformers film, there’s no reason you won’t dig this one. The action is fierce and intense and it moves fast enough that you’re never bored. Just suspend logic and reality for 2.5 hours and accept that the point of the film is to wow you with big special effects and loud noises and you’ll get your money’s worth.
BLU-RAY REVIEW
Video: I’ve always felt that the first Transformers film is reference-quality when it comes to audio/video presentation and this one manages to equal its predecessor. The edition I watched was the special, limited edition Wal-Mart exclusive that had the “Imax” scenes that changed aspect ratios during key fight sequences. The only other film that I know of that did this was THE DARK KNIGHT. I have to admit that I really like this effect and it made the action seem more “alive” than had they kept with the normal ratio. So if you plan on buying this, I highly suggest you go to Wal-Mart to get it.
Audio: There were rumblings that the Imax version had some audio problems, but I must have lucked out because the audio was fine with my disc. The film sounded excellent with lower bass levels being used more often, along with more utilization of surround channels. Bay has become a master of using sound effects to heighten the action and intensity, which he does very well here.
Commentary with Michael Bay, Roberto Orci and Alex Kurtzman- This commentary doesn’t shed too much extra light on the film. These guys do a good job of keeping the chatter up but they don’t say anything too exciting. There are some anecdotes which is entertaining but this is really nothing special-although we do get the story of the famous Megan Fox on the motorcycle shot-no spoilers. There was also an admittance that some stuff was left in for the kids only. If you’re a HUGE fan of the film then watch, otherwise catch some of the shorter featurettes.
The Human Factor: Exacting Revenge of the Fallen (2:14:31)-A very in-depth “making of” featurette that is, thankfully, broken down into chapters. Of course there are a lot of movie clips and interviews from cast and crew but they cover a lot of ground in here, from initial sketches to end product. This also encompasses the first movie as well. It does run a little long but overall it’s a good watch.
A day with Michael Bay: Tokyo (13:23)-We follow Mr. Bay around as he finishes the film before showing it to Tokyo. We get to see him in interviews and press junket-type settings. The interesting thing is that he’s doing all of these interviews and talking to people and the film isn’t even finished. It’s a good “real life” piece and makes Bay more endearing to the audience.
25 Years of Transformers (10:44)-A montage of images and clips of Transformers over the years with interviews telling us why Transformers has stood the test of time. This is filler for the disk since we obviously saw the movie so we know that it has stood the test of time. If you really dig the toys this would be nostalgic–otherwise I would skip it.
Nest: Transformer Data Hub-This is an interactive menu where you can view the bios of the autobots and images of how they have changed through the years. If you wanted history of a particular bot, then this is for you.
The Allspark Experiment-Another interactive game where you choose a vehicle and add options to the car, then hit it with the allspark from the film and watch it transform–kinda goofy but my autobot was cool!
Deconstructing Visual Bayhem (22:46)- Mr. Bay gives us a little intro into this featurette and then we get some commentary from some of the visual guys. This is broken down into various scenes from the film where we get to see he conceptual scene and then the conceptual/final scene. This featurette was too difficult to maneuver through but was interesting enough. Note to Blu-ray people: just because you can make us do different things to watch the featurette, it doesn’t mean you have to…easy access is nice.
Deleted/Alternate Scenes (6:01)- A lot of these scenes were of Sam’s parents and it’s good they were deleted or cut down because they didn’t add anything extra to the story. Worth the watch though.
Giant Effing Movie (24:03)- This is their alternative to a gag reel and I dug it. A montage of explosive scenes from the film along with the actors, director and crew goofing around. It ran a little longer than necessary but it was entertaining, especially since we got to see Mr. Spielberg for a bit.
