The Impossible Blu-ray review

Actors: Naomi Watts, Ewan McGregor, Tom Holland, Samuel Joslin

Format: AC-3, Closed-captioned, Color, DTS Surround Sound, Subtitled, Widescreen

Language: English

Subtitles: English

Aspect Ratio: 1.85:1

Number of discs: 1

Rated: PG-13 

Studio: Summit Entertainment

Release Date: April 23, 2013

Run Time: 114 minutes

 

 

          The Impossible is a straight-forward film in many respects. The narrative direction offers no surprises; we are promised a film about a family surviving a tsunami and the aftermath, which is exactly what The Impossible provides. The fact that it is based on a true story and with a title like The Impossible, we are given some assurance of a relatively happy ending for the family which is our collective protagonist for the film. It is a testament to director J. A. Bayona that despite all of this laid out at the beginning of the film, the viewing is still arduously, and at points nearly unbearably, suspenseful.

 

          Naomi Watts and Ewan McGregor head up the cast as parents Maria and Henry, vacationing on a beach resort in Thailand with their three young boys when the tsunami hit. They are separated immediately, and we follow Maria as she struggles and is beaten within the swirling debris-filled water. After surviving the initial disaster, there remains the task of seeking safety and treatment. Following that is the struggle to find one-another, with diminishing hope that all have survived.

 

          This is an emotionally draining film, leaving the audience feeling as beaten inside as the stars look on the outside. McGregor and Watts do a spectacular job capturing the emotions perfectly, never seeming to manipulate or manifest false responses. Their reactions seem sincere, and as parents this is a horror that I am certain both could relate to. Watts was nominated for her performance, deservedly, but it is newcomer Tom Holland as the eldest son who I found myself most impressed with. He reminded me of a young Jamie Bell, able to handle the emotional aspects of the film with a maturity that hardly seems like acting. It is easy to become immersed in the story and the characters, because of performances and direction.

 

          The Blu-ray release includes an audio commentary with director J.A. Bayona, along with writer Sergio G. Sánchez, producer Belén Atienza and Maria Belón. There are also two making-of featurettes, including one about the casting process, and a few deleted scenes. 

 

             

Entertainment Value: 7.5/10

Quality of Filmmaking: 9/10

Historical Significance: 8/10

Disc Features: 7.5/10

 

Pawn Blu-ray review

Actors: Ray Liotta, Michael Chiklis, Forest Whitaker, Sean Faris, Nikki Reed

Director: David A. Armstrong

Format: Color, Widescreen

Language: English

Subtitles: English, Spanish

Aspect Ratio: 2.40:1

Number of discs: 2

Rated: R (Restricted)

Studio: Starz / Anchor Bay

Release Date: April 23, 2013

Run Time: 88 minutes

 

          I’m not quite sure if Pawn has a simple plot at its core which has been intentionally overcomplicated by stylized filmmaking, or if it is an over-complicated plot which is laid out in sloppy narrative manner. Either way, Pawn has more potential than it seems to know what to do with. Perhaps this is due to the fact that this is cinematographer David A. Armstrong’s first attempt at directing. Pawn looks great but rarely matches up in other areas. For one thing, the acting is uneven at best, despite a star-studded cast.

 

          The film takes place almost entirely in a diner late at night. There is the usual cast of characters in the diner, though we soon find that there is much more going on than it seems. When a cop (Forest Whitaker) walks into the diner and notices that all of the customers are distressed, it is quite clear that the place is being robbed, but the plot is much more convoluted than that.

 

          A group of British thugs (led by an occasionally convincing Michael Chiklis) enter the diner to rob it, but they are there for something in the safe other than money. This item is valuable enough to peak the interest of the cops and the local mob bosses (Ray Liotta among others). It may also provide an escape for one of the unfortunate diner hostages (Sean Faris), who the police mistakenly believe is behind the robbery turned hostage situation. Add in a hostage negotiator (Common), mistaken identities and a pregnant wife and you have most of the film in a nutshell.

 

          The Blu-ray includes a behind-the-scenes featurette.

Entertainment Value: 6/10

Quality of Filmmaking: 5/10

Historical Significance: 2/10

Disc Features: 2/10

 

Not Suitable for Children Blu-ray review

Actors: Ryan Kwanten, Ryan Corr, Sarah Snook, Bojana Novakovic

Director: Peter Templeman

Format: Widescreen, NTSC, Digital Sound, Dolby, THX

Language: English

Aspect Ratio: 1.85:1

Number of discs: 1

Rated: R (Restricted)

Studio: Well Go USA

Release Date: April 16, 2013

Run Time: 97 minutes

 

          Not Suitable for Children is an adult romantic comedy in the vein of many Judd Apatow films, specifically Knocked Up. Though there is potential for much more vulgar material with the plot, instead it finds a way of being surprisingly sweet instead. The cover clearly wants to cash in on the success of HBO’s “True Blood” co-star Ryan Kwanten’s role in Not Suitable for Children, plastering his face on the region 1 Blu-ray cover. In reality, the one stand-out element within this Australian romantic comedy isn’t Kwanten, but his female co-star, Sarah Snook.

 

          The plot is a bit ridiculous, but also a simple set-up which provides numerous opportunities for the plot. Jonah (Kwanten) is accustomed to a bohemian-type style of living, sharing a house with his best friends; a crass and oblivious guy named Gus (Ryan Corr), and his sarcastic and practical female friend, Stevie (Snook). These are the friends he turns to when Jonah discovers that he has testicular cancer. After all of his options for having a child begin to disappear, Jonah realizes that his only chance for children is to get somebody pregnant before his scheduled surgery, which will leave him infertile.

 

          Stevie begins to help Jonah as a mediator to find someone willing to carry his child, whether a lesbian couple or a lonely middle-aged woman, but we can see that she will ultimately end up with out protagonist. The wonder of romantic comedies is their ability to remain enjoyable despite having few to no surprises with the direction of the plot. What makes them particularly enjoyable is the writing and the performances, and this film is blessed with a charmingly real performance from Sarah Snook. She is like an Australian Emma Stone, beautiful while remaining grounded and real. I have no doubt that we will see more of her shortly.

 

          The Blu-ray includes interviews with cast and crew members, as well as behind-the-scenes footage from the production and a trailer.  

 

Entertainment Value: 8/10

Quality of Filmmaking: 7/10

Historical Significance: 6/10

Disc Features: 6/10

 

Naked Lunch Blu-ray review

Actors: Peter Weller, Judy Davis, Ian Holm, Julian Sands, Roy Scheider
Director: David Cronenberg
Format: Blu-ray, Dolby, DTS Surround Sound, NTSC, Subtitled, Widescreen
Language: English
Subtitles: English
Number of discs: 1
Rated: R (Restricted)
Studio: Criterion Collection
Release Date: April 9, 2013
Run Time: 115 minutes

            David Cronenberg’s adaptation of William S. Burrough’s beat-era novel, Naked Lunch, shows as much about the filmmaker as it does the author in subject. The novel was once thought unfilmable, filled with hallucinatory sequences of drug induced illusions and paranoia. Rather than tackling the film head-on, Cronenberg splits the screen-time with a focus on a character based on Burroughs as he writes his novel in a drug-addled stated. The result is an examination of the act of creating a work of art, along with drug addiction. All of this is done with consideration to the story within Naked Lunch, inserted during the illusionary drug-induced state, and with the distinct visual style and themes of the Canadian horror director.

 

          Cronenberg’s films all seem to share a common fascination with the mutilation and metamorphosis of human flesh, particularly in terms of technological advancements. In Videodrome it is a living, breathing videotape. In Naked Lunch the typewriters are alive, talking alien bugs, agents in a sinister plot involving exterminator and drug addict Bill Lee (Peter Weller).

 

All of the problems arise when Lee accidentally shoots his wife, leading to a series of drug induced delusions. As he travels to a nightmarish world called Interzone to escape his accidental crime, Bill meets a woman identical to his wife and a espionage plot that he becomes involved in. What remains at the end of this trip is the writings that Lee does, as his official reports ordered to him by a giant bug.

The Blu-ray release of Naked Lunch has a high-definition digital transfer and DTS-HD Master audio soundtrack, approved by Cronenberg, who also provides a commentary track alongside Weller. Also included in the special features is the 1992 making-of documentary by Chris Rodley, Naked Making Lunch and an audio recording of Burroughs reading from the novel. There are also galleries of photos Allen Ginsberg took of Burroughs, as well as a marketing gallery and one of the special effects artwork and photos. The package comes with a 40-page booklet with reprinted pieces from film critic Janet Maslin, novelist Gary Indiana, filmmaker Rodley, and Burroughs.

 

             

Entertainment Value: 8/10

Quality of Filmmaking: 9/10

Historical Significance: 9/10

Disc Features: 10/10

 

The Bible Blu-ray review

Language: English (DTS 5.1)

Subtitles: English, French, Spanish

Dubbed: English

Aspect Ratio: 1.78:1

Number of discs: 4

Studio: 20th Century Fox

Release Date: April 2, 2013

Run Time: 440 minutes

 

I’m actually surprised that this didn’t happen sooner, especially after the success of Mel Gibson’s The Passion of the Christ. I had imagined that Gibson’s gruesome film would have opened the eyes of studio decision-makers to see the potential for violence within the religious text. Instead, the most blatant of the attempts to duplicate Gibson’s success was A Nativity Story, which is another equally well-known story, but one without the amount of violence audiences seem to crave in order to watch this type of material.

 

The epic ten-part miniseries, “The Bible,” understands the need to embellish and glorify the violent aspects of the text over all else, and that helps to set the series apart from other filmed versions of the same events. There are points within the series that the effects and the action choreography modeled after 300 and the “Spartacus” series. This seems to be in hopes of enticing a mainstream audience into hearing the Sunday school tales, as opposed to the watered down versions that would actually be shown in church.

 

Although a great deal more material is covered in creative ways, each episode essentially focuses on one major character from the Bible. The first episode begins with a brief introduction from Noah as he drifts through the storm in his arc, but moves on quickly. As each episode focuses on a specific character, it also progresses through the Bible, hitting major points until the finale of Easter’s origin’s, finishing in time to air this past holiday.

 

          All ten parts of the series are fit onto four discs, along with a series of making-of featurettes and a music video. The visual aspects of the series lend themselves to the Blu-ray format, making this a worthwhile package for fans of the series.

 

             

Entertainment Value: 7/10

Quality of Filmmaking: 6.5/10

Historical Significance: 6/10

Disc Features: 8/10

 

The Sorcerer and the White Snake Blu-ray review

Actors: Jet Li

Director: Siu-Tung Ching

Format: AC-3, Closed-captioned, Color, Dolby, Dubbed, Subtitled, Widescreen

Language: Cantonese

Subtitles: English, Spanish

Dubbed: English

Aspect Ratio: 2.35:1

Number of discs: 2

Rated: PG-13

Studio: Magnolia Home Entertainment

Release Date: April 9, 2013

Run Time: 93 minutes

 

The usual kung-fu choreography and tree-top ballets are not enough for The Sorcerer and the White Snake, which also throws in large snakes, demons and other supernatural elements for a special effects melting pot of eye candy spectacle. Unfortunately, the film has little else to offer. It is a candy-coated film which offers little nutrition for discerning the viewer.

 

          The film is based on a Chinese legend which centers on a man who unwittingly falls in love with a woman who is secretly a thousand-year-old snake. When her presence becomes known, a sorcerer (Jet Li) sets out to put the snake back where she belongs, restoring the order between humans and the supernatural world. This means the separation of the pair of star-crossed lovers.

 

          The Blu-ray release of The Sorcerer and the White Snake is the preferred home viewing method for a film so heavily reliant on digital effects. There is also the added bonus of the special features, which include four featurettes on the making of the film. Most of them are concerned with the visual aspects of the film, though the most entertaining is one on the fight scenes with Jet Li. There is also one on the visual effects and production design.

             

Entertainment Value: 4.5/10

Quality of Filmmaking: 3/10

Historical Significance: 2/10

Disc Features: 7/10

 

 

           

Youth Without Youth review

 

 

There was a great deal of hype inevitable to come with Francis Ford Coppola returning to direct a feature film for the first time (credited at least) in ten years. This is remarkable considering how passionate and consistently he made films earlier in his career, and many believe the reason to be that the stress from Apocalypse Now was too much for him too bear. Youth Without Youth did not cause any life threatening situations on Coppola, and in fact it was a film entirely produced by his successful vineyard in California. This is a much more leisurely film by the director, who has obvious relaxed a great deal himself in the last ten years, and for this reason many fans were not entirely pleased with the film, already pining for a three-hour director’s cut that will be much better. It seems to me that this was meant to be a slower and more thoughtful film, and returning a few subplots back into the film is not likely to change anyone’s opinion of this intricate and intelligent film.

 

Part of the reason so many fans are convinced there will be a director’s cut is because of the fact that there was an initial three-hour cut made from the 170 hours of footage shot for the film in the 85 days of shoot. Much of the success of the film is due to the dedicated performance by Tim Roth as linguistics professor Dominic Matei. When we join Dominic he is an elderly man of about seventy, lamenting at the fact that he was unable to finish the book he has spent his life writing on the origins of language. Living in Romania in 1938 the country is on the brink of war with Germany and Dominic seems to be in even worse condition when he is struck by lightening on Easter morning. Surprisingly the old man doesn’t die, and even more surprisingly he begins to age backwards from 70 to 40, even growing new teeth in the process. This remarkable occurrence coincides with a German experiment testing what high currents of electricity will do to the body, so Dominic becomes a precious scientific treasure and must escape.

 

Easily able to blend in considering they were trying to find a man who was 70, Dominic creates a new identity and begins exploring his new powers. Dominic finds that he has other new abilities, specifically ones involving knowledge, allowing him to have a superior gift to those around him however discreet he hides it. When Dominic falls in love he finds that he may be destroying her by the research he is doing himself for the book, and suddenly realizes he must make a decision to be the same or different than the German scientists that want to find and study him. Youth Without Youth is a touching and poignant film, though it may not be Coppola’s most accessible. It is a thinking film, brilliantly carried by thoughtful direction and impeccable acting.

 

Zack and Miri Make a Porno review

 

 

            In the 90s Kevin Smith was the cutting edge of comedy, the underground raunchiness delivered to audiences unsatisfied with the usual sense of humor of Hollywood. Smith isn’t much of a director, as he has often admitted, but his screenwriting is unmistakable, pushing the envelope on sexual content without ever showing anything. The dialogue was simply that vulgar and creatively offensive. Anyone who witnessed the unrated teaser for Zack and Miri Make a Porno knows that this much has not changed about Smith’s style, though his films grow increasingly sweeter and his directing improves with each film he makes.

 

            If it feels like it has been some time since Smith has made a film, this may be true, but he always seems to take his time in-between projects. The difference with his return now is that there have been some changes in the field of comedy, as Judd Apatow has been involved with nearly every successful comedy in the last few years. Apatow is a director not unlike Smith in many ways, with an emphasis on dialogue and acting that leaves little consideration for any camera work that could make his style as a director more distinguishable than his words. Apatow also enjoys an R-rated comedy, but the main difference between the two directors is the way that they handle their actors. Apatow encourages his actors to ad-lib, improvise and create dialogue of their own, while Smith his notoriously picky about having his script recited word-for-word. Three successful regulars of Judd Apatow films star in Smith’s Zack and Miri Make a Porno, making this an interesting collaboration that often feels influenced by the style of both directors.

 

            Seth Rogen sports especially long hair and unkempt hair along with a beard and glasses as Zack, an obvious surrogate for Smith himself. Zack lives with his best friend since high school, Miri (Elizabeth Banks), and they are so comfortable with each other that they can have conversations about masturbation toys with absolutely no shame or embarrassment. Even though they seem to have few aspiration with their lives, Zack and Miri seem content despite the piling debt that they have somehow retained through their lifestyle. When they attend their high school reunion, Zack and Miri have a chance encounter with a former school mate (Brandon Routh) who now makes a fortune starring in gay porn with his boyfriend (Justin Long). This is an inspiration to Zack, and eventually he has convinced Miri that they can set aside their friendship and sleep together in order to get out of debt.

 

            Smith’s treatment of the relationship between Zack in Miri is always respectful, and actually quite sweet. It helps that Rogen and Banks seem to have a sincere chemistry with each other that makes their friendship completely believable. That being said, the porno film quickly involves many more than just these two friends, and some of the other sex scenes filmed for the porno are anything but sweet, and Smith shows that he has retained his immature sense of humor along with the more sophisticated relationship dynamic. Gone are the days where Smith was vulgar enough by words alone.

 

            I will say that I respect that this film has not been released with an unrated version. There are so many films released this way that I have to question if the filmmakers have stopped fighting to get the cut they want released in theaters or if it is simply a ploy to take consumer’s money. There is never any telling until you watch both the theatrical and unrated version, and the fact that this film is the same as it will ever be shows the strength that Smith does have as a director.

 

         

Youth of the Beast review

 

            The new Criterion Collection release of Seijun Suzuki’s Youth of the Beast is exactly the type of film that has come to be expected from Criterion, and yet the DVD is less flattering than other Criterion releases have been in the past. The transfer still looks as beautiful as always, but there isn’t much else to the actual DVD. Even the menu is somewhat flat and uninspired.

 

            Youth of the Beast is a crime film which may not seem original to new viewers because it has been duplicated countless times since it was released in 1963. It is the story of an ex-cop who takes revenge on every local gang in hopes to find the killer of his old friend. The ex-cop joins two rival gangs, attempting to find information, but also never hesitating to use violence as much as necessary. The film was far ahead of its time, using violence in such creative ways that not much needs to be shown for the audience to get the picture and be shocked. The film begins in violence and ends very fittingly in the same way.

 

Youth of the Beast is visually stunning, with great use of colors that is so inventive and creative, while at the same time shows horrific violence. It is a great in classic Japanese cinema that belongs on any avid collector’s shelf, even if it is only taken off and watch every so often. Criterion makes a great habit of releasing films that we may not watch all the time, but can appreciate far longer than the films which we enjoy watching more.

 

            The DVD has an amazing restored quality, making the film seem even sharper, and it also boasts a newer and more improved English subtitle translation. There are also a few filmed interviews and the theatrical trailer. None of these features are as solid as one would hope for a film of such high caliber, but the film itself is worth the price.

Zatoichi review

 

            Takeshi Kitano is an artist. I don’t simply mean this because he is a simple and subtle actor, able to convey meaning and humor through minimal movement and dialogue. I also don’t call Kitano an artist because of his unique and creative style as a filmmaker, or his passion for poetry and Japanese game shows. The reason I refer to Kitano as an artist isn’t because of one of these things, but rather, because of all of them. If he were only an actor I would still refer to him as an excellent actor, but it is his passion for continually challenging himself in new forms of artistic creation which makes Kitano such a mesmerizing artist to follow. His unpredictable nature seems to come with the joy of discovery, the artist obviously enjoying the process as much as the outcome.

 

            The Blind Swordsman: Zatoichi is a perfect example of this unique need to be inventively original. Zatoichi is an iconic name in Japanese pop-culture history, like Robin Hood to England. Previously played by Shintaro Katsu in 26 Zatoichi films, Kitano adapts the popular blind fighter to his own unique vision. The plot is traditional in the basic description, but the presentation is nothing like the film series from Japanese film history. The action sequences don’t display the abilities of the actors like the past, but instead are done with lightening speed and CGI effects to detach the violence from realism (much like Quentin Tarantino’s method in Kill Bill Vol. 1).

 

            Upon its release there were some complaints by film fans about the realism of the deaths in the film. The blood is all created on the computer, as are many sword blades during the fights. When the sword enters the flesh, blood spurts out with creatively stylized splatters. Even the high definition presentation cannot hide the traces of obvious digital effects, but this effect has its benefits. The film’s action sequences are fast and over quickly, but they remind the audience that it is simply a film, heavily stylized. This makes the unusual musical choreography of the film editing much easier to understand. Throughout the revenge plot in a small 19^th century village there is a building being constructed, and the percussion soundtrack follows in the pattern of their progression. This all builds to a final dance number which is spectacularly inaccurate to plot and period.

 

            The high definition on the Blu-ray may not improve the rustic special effects in the otherwise violent battles, but the audio on the Japanese track actually sounds much better than I expected. The back of the Blu-ray says that the audio for the English dubbing is 5.1 DTS-HD, and yet the Japanese track with subtitles sounded much better to me, even though it is listed as only Dolby Digital. The special features include a behind-the-scenes featurette and interview footage with the crew.

You've Got Mail review

 

            There was a great deal of fuss over the fact that Tom Hanks and Meg Ryan were collaborating once again with director Nora Ephron on a romantic comedy, but in hindsight they were destined to disappoint. There was no way that You’ve Got Mail was going to top Sleepless in Seattle, but adapting a remake of the classic Ernst Lubitsch holiday film, The Shop Around the Corner, was a great idea.

 

            At the same time, even though I enjoy the chemistry between Hanks and Ryan, You’ve Got Mail doesn’t compare to the original any more than it does Sleepless in Seattle. It is really a disappointment when compared to any other film, which is a shame because it actually isn’t half bad.

 

            Hanks and Ryan are natural enemies because he works for a large mega-book store and she owns a small specialty store threatened out of business. They despise each other, although they are also both unaware they are each other’s online pen pals. This is only complicated further because they are both in relationships with other people (Greg Kinnear and Parker Posey in supporting roles), but things turn out the way they are supposed to in romantic comedies.

 

            The highlight of the special features is the inclusion of a bonus DVD disc with a copy of The Shop Around the Corner. The Blu-ray includes a number of special features, including a commentary track with Ephron and producer Lauren Shuler Donner. There are also featurettes and music videos.

 

           

Zift review

            Zift is a spectacular Bulgarian film noir, set during a time of political and social change with a pulp style and somber black-and-white photography. Director Javor Gardev manages to blend the expectation of genre in a way which provides a relevant and entertaining film. Zift is fun and fearless, never taking itself too seriously; a combination which is always a joy to watch. Though many aspects of the film may seem somewhat familiar; the basic plot resembling classic noir D.O.A., Zift always feels original and fresh.

 

            Three characters with insect nicknames pull a heist together shortly before the Bulgarian communist coup in 1944, and the most valuable item from the theft goes missing. Moth (Zahary Baharov) emerges from prison after being convicted for a murder he didn’t commit, and is immediately picked up by the real killer, Slug (Vladimir Penev). As Moth is tortured for information in the remote area of a bath house, he gives somber narration and flashbacks to the audience to explain.

 

            Like all great film noirs, the trouble begins with a woman. Ada and Moth begin a relationship. Soon his gift of a preying mantis to her gives her the nickname Mantis. The fact that Moth describes the female mantis’ killer instincts after copulation is a glaring warning sign. Soon Moth, Mantis and Slug are planning to rob a jeweler, meanwhile after his release Moth attempts to reunite with Mantis before the night is over.

           

Zodiac Blu-ray review

            It is somehow surprising to see that Zodiac is among the first of director David Fincher’s films to make its way to Blu-ray. It may be the one film of his least likely to have a cult following the way many of his others seem to, but it has also been one of his finest achievements and most critically acclaimed film. There is a giant flaw in the hugely popular Award season that takes place between January and March, and it specifically affects the films being released in theaters during this time. Regardless of whether it is the Academy or the Hollywood Foreign press, the nominating committees for most of these award shows have very short memories, making the end of the years a popular time for films seeking awards. Zodiac was appropriately set for a Fall 2006 release, perfectly timed for award season, but everything was behind due to delays. Instead Zodiac was released very early this year, set to compete against all of the films still fresh in everyone’s mind while nominating.

 

Even the DVD release, which is often a recent secondary way of helping encourage nominations, occurred long before the nomination period. Wisely, Zodiac still made an effort, however futile it may have been, releasing the 2-Disc Director’s Cut at the end of 2007, perfectly timed to refresh our memories that it was one of the best films of the year. A perfect example of how much the timing seems to matter coincides with the release of Zodiac on Blu-ray, which is Fincher’s latest film in theaters, The Curious Case of Benjamin Button. Aside from being a crowd pleaser, it was released on Christmas Day. The two films couldn’t be more different, but that simply shows how talented Fincher really is as a director, though he seems to reign most confident in films of violence, as Zodiac is dedicated to.

 

            The reason the film was delayed is not unrelated to how brilliant it is. Director David Fincher has become infamous for his meticulous nature among other things, and Zodiac is his most thoughtful and intelligent film yet. It is also his most meticulous being as it is a period piece and based on actual case files. Fincher was taking longer than the studio would have liked, and this is also all the more reason why the release of a director’s cut would seem significant. Even though I am all for the promotion of the film, the new cut of the film doesn’t seem all that different from the theatrical version. Even still, this two-disc is still welcome, with a commentary from Fincher, who is pretty much non-stop with explanations and details for the entire commentary. He is one of the most engaging directors to listen to, mostly because of how meticulous he is.

 

            The second commentary on the first disc with the film is with actors Jake Gyllenhaal, Robert Downey Jr., Brad Fischer, James Vanderbilt and James Ellroy. Gyllenhaal is essentially the lead character in the film, or at least the one we seem to stay closest to. He is a cartoonist for one of the newspapers contacted by Zodiac, a serial killer who has brutally slain at least two couples. Working at the same paper as Gyllenhaal is a reporter (Robert Downey Jr.) with a nature predisposed to drugs and alcohol. These two men become obsessed with the Zodiac murders and the taunting killer, where on the police side Mark Ruffalo plays a detective with just as strong an obsession.

 

The rest of the special features on the two DVDs cover aspects from the case files the film is based on to featurettes about the actual production. There is a featurette showing the pre-production work in comparison to the actual final product, to show how detailed Fincher is in advance. There is also a documentary for the behind-the-scenes filming experience and a featurette about the visual effects. There is a feature-length documentary about the real life investigation, as well as a featurette about Arthur Leigh Allen, the prime suspect who was never charged.

 

            The Blu-ray is released in two-discs, just like the DVD release of the Director’s Cut, and all of the special features and such are transferred directly over with little change. All of the documentaries are in high definition, but the real treat is Fincher’s meticulous film, both the soundtrack and the remarkable images that look even more incredible on high definition. Certain directors are so careful in their filmmaking process that there are always more details unveiled watching their work in high definition, whereas a weak director often shows flaws the more the audience can see. Fincher is an infamous perfectionist, and is films are art because of it.

A Bug’s Life Blu-ray review

            When A Bug’s Life was released on DVD it was the first to have a transfer direct from the digital source, making it a special visual treat to those who took the film home, and it makes sense that the Blu-ray release of the second film from the now legendary Pixar Studio should be given special attention. I have come to realize that there is more to be said for high definition in the presentation of animation than nearly any other genre, and this film is a beautiful example. Even though some of the animation is slightly more rustic in comparison to the recent films from the computer animation studio, there is still much that seems groundbreaking about this film today despite the ten years that have gone by since its initial theatrical release.







The film is extremely simple, though it is one that has made its way through several genres besides animation. Whether comedy (The Three Amigos), western (The Magnificent Seven) or Samurai film (The Seven Samurai), there is no questioning the influence of this film, but it isn’t nearly as much about the story as it is the imaginative retelling and the visual spectacle that comes with it. The previous Pixar film, Toy Story, had spent much of the film indoors, but A Bug’s Life takes full advantage of the surroundings of nature. The scenery is spectacularly animated, which makes the animated bugs seem somewhat cartoonish by comparison. The representation of nature looks so real that it is hard to reconcile that the characters exist in the same film, which is only enhanced by the revealing high definition presentation. This is more of a compliment to the realistic presentation of everything from sunshine to raindrops, leaves to grass, than it is a criticism of the characters.







All-new to the Blu-ray release are a couple of Blu-ray exclusive features, though the previous special features were not left off of the release. The particular feature which is spectacular in high definition is the short film, ‘Geri’s Game’, which was shown before the film in North American theaters. There is also the director’s original commentary track and a new introduction to the film. There is also a classic Silly Symphonies short that is included because it is about grasshoppers and ants. The new features include a featurette which brings the filmmakers to a round-table to discuss the film ten years later. There is also a fantastic never-before seen presentation of the original script idea for the film. There are drawings and simple animation sequences to give audiences an idea of what was originally conceived and how things changed.

A Christmas Story review

 

 

            A Christmas Story is a classic Christmas film of sorts, but it doesn’t fit in with most categorizations, and in my opinion is one of the few realist Christmas films. Studios have tried unsuccessfully to duplicate the disastrous realities of holiday seasons, and I suppose National Lampoon’s Christmas Vacation is a close comparison without the nostalgia. The fact that A Christmas Story is told through the eyes of a child makes it feel like childhood, including all of the shameful and embarrassing bits along with the wonderful. There are so many of these realistic moments that A Christmas Story plays like a series of nostalgic and tragically comical moments in a young child’s winter trying to convince his parents that he is old enough to get a Red Ryder 200-shot Carbine Action Air Rifle.

 

            Based on Jean Shepherd’s novel “In God We Trust, All Others Pay Cash,” A Christmas Story is a narrated tale of nine-year-old Ralphie (Peter Billingsley) during Christmastime in 1940s Indiana. Ralphie is an average nine-year-old with the usual troubles and anxieties. He is worried Santa won’t bring him his present of choice and is dedicated to getting the word out in order to increase his chances, but this is just one of Ralphie’s misadventures. He has the trouble of an adorable younger brother that takes the attention away from him and gives him more responsibilities, especially herding the coat-paralyzed young boy to school. Ralphie also has the worries of schoolwork and dealing with the hijinks he and his friends get into, including the famous tongue-on-a-frozen-flagpole sequence.

 

            What makes this film so beloved is the ridiculous and embarrassing characterization of the family, which may be more dead-on than is humorous at times. Ralphie’s gruff father (Darren McGavin) is usually in a bad mood, which changes when he wins a prize lamp that his wife (Melinda Dillon) sorely disapproves of. Ralphie is mostly an observer to his parent’s bizarre behavior, unless he makes a mistake, such as a slipped swear word, which leads to punishment.

 

            All of the material from the two-disc collector’s edition DVD are included on the one Blu-ray disc, which includes a high definition presentation of the film. Along with a commentary track with Billingsley and director/co-writer Bob Clark there is a sampling from the book, read by author Jean Shepard. There is also a 20^th Anniversary Documentary, previously released, along with a few featurettes on the iconic leg lamp and the toy gun longed for. There is also an interactive trivia option and a few other fun gadgets and gizmos to fool around with on the Blu-ray.  

A Guide to Recognizing Your Saints review

 

 

As a coming of age film, A Guide to Recognizing Your Saints does a pretty great job. As a film in every other consideration, there is something just quite not right. Everything seems like it should line up perfectly. There is a heartwarming true story by Dito Montiel which is acted out by some fantastic actors who fit the roles perfectly, but I was never impressed by the final product as much as I would have liked. This may be due to the fact that Montiel is not only stepping into the role of writer/director for the first time, but he is also telling his own coming-of-age tale. Aside from the personal attachment to the story, there are many other elements which can become difficult with a first time director. Considering all of these external factors, Montiel did a fantastic job. Somehow I was just left feeling as though there hadn’t been much of anything new in this mid-1980’s Astoria, Queens coming of age story.

 

A Guide to Recognizing Your Saints begins with an adult Dito, played by an underused Robert Downey Jr., as a successful writer who hasn’t been home since he left years earlier. When he gets a phone call that his father is sick and refusing to go to the hospital, Dito returns home and must face his past. As he travels we witness the flashbacks of the time leading up to his departure from Queens. In the 1980’s Dito (Shia LaBeouf) and his rag tag bunch of friends terrorize the town in harmless fun. It is a rough neighborhood but they mostly stay out of trouble, especially because of their toughest friend (Channing Tatum). During his last summer in his home town Dito falls in love and watches two of his friends die. When he leaves he cuts ties with his father (Chazz Palminteri) and must return to finally resolve his past, including a visit to his first love (Rosario Dawson).

 

If there is something missing from the film it certainly isn’t for lack of trying and this is obvious by the impressive special features on the DVD. There alternate opening and end sequences, although they don’t change the film in any way. They are great for comparing how the tone of the film might have changed, even though the story doesn’t have much room to change dramatically considering it is based on a true story. There is also a making-of documentary with plenty of the usual interviews from the stars, and a commentary track with Montiel and the editor of the film.

A Heart in Winter (Un Coeur En Hiver) DVD review

 

Painful unrequited love is cinematic torture and gold. Television shows love to drag out unrequited love for an entire season, if not longer. Just look at the tension which was allowed to build on The Office (the American version) before Jim and Pam were finally allowed to kiss. The reason that it works so well is because they are finally given the opportunity to kiss which relives the suspense from the shoulders of the audiences tuning in each week. Un Coeur En Hiver, or A Heart in Winter, is intensely successful in the installment of suspense in the audience, which is left dangling there for nearly the entire film without any promise of relief. It takes remarkable direction to pull this off without upsetting an audience from the emotional torment, but Claude Sautet certainly seems capable. 

 

Emmanuelle Beart is absolutely engaging as a miraculously talented concert violinist, Camille. She is smothered by her chaperone and although she has become engaged to a man who repairs violins, Maxime, although she only truly seems interested in opening up to his reserved business partner, Stephane, who is the one with the real talent with violins. Maxime and Stephane work together but have little in common except that they both seem affected by Camille. Maxime’s arrogance and natural charm overshadows Stephane, who seems to watch the world from a distance. Camille is slowly attracted to this reserved man, somehow relating to his solitude in life, which builds inevitable tension between the three of them.

 

While Maxime seems to have no real skill other than wooing people, Stephane and Camille have extremely rare abilities, and they only seem completely at peace with their surroundings when they are making art; Stephane with his incredibly sensitive violin repairs and Camille in her passionate violin playing. These instruments are the heart of the film and all of the emotion which they keep repressed inevitably comes out through the music in the film. The only difference between the two, who are each attracted to each other, is that Stephane is unwilling to love. For whatever reason, whether it is a bad childhood or refusal to hurt his partner, he rejects Camille’s love, which somehow makes her love him more. It is a desperately painful sight to watch and even the producer admits that it isn’t a box-office friendly film in a segment from a documentary in the special features.

 

In many ways A Heart in Winter became less of a romantic film for me because it almost seems at moments as though Stephane is purposefully manipulating the people in his life. Because of how little he says it is impossible to know for certain what he is thinking and I kept expecting some sort of a revealing monologue to provide closure which would never come. This feeling of anticipation never satisfied brings the audience into the same position as Camille, an uncomfortable switch to say the least.

 

The DVD has a newly restored HD transfer of the 1992 film, which was personally supervised by the film’s director of photography. There are also a few special features including an excerpt from a documentary, Claude Sautet ou la magie invisible, which covers a lot of examination of the film in just a short amount of time. There are also three interviews, two of which are from French television. Two of the interviews are with director Claude Sautet and the other is with actor Andre Dussollier.

Love Song for Bobby Long review

After the buzz Scarlett Johansson received with two career-changing roles (Lost in Translation and The Girl With a Pearl Earring) the following season brought a new film, A Love Song for Bobby Long, which was looked over by many. This sappy southern drama premiered at the Venice International Film Festival, which is fitting for the small scale of the film, which relies heavily upon the characters. This may have seemed forced in the hands of any less able actors, but John Travolta brings southern charm to a new level while Gabriel Macht sneaks up on us with the most subtle performance in the film.

Based on Ronald Everett Capps' then-unpublished novel, Off Magazine Street, Love Song is about a young woman, Purslane Hominy Will (Scarlett Johansson), returning home to New Olreans for the first time in years after her mother’s death. This may sound similar to Garden State at this point, but once she arrives at her mother’s house and finds that she must share it with two other men (Travolta and Macht), things veer drastically.



Love Song is a poetical film which, like an onion, has many layers which are peeled away one at a time. This was director Shainee Gabel’s first feature and he shows without fail that he has an eye for character, knowing when it is okay to stray away from plot in order to give the actor’s their
necessary moments. Unfortunately at times it seems that Gabel’s skills at screenwriting are not quite as developed and the film almost has a melodramatic tone to it. The only thing saving some of the dialogue was the dedication and believability of the actors involved. Otherwise Love Song
would have sunk quickly. Fortunately dialog was also set on the backburner and much of what we need to know is said with a look from these skilled actors, rather than words.



Most of the film has a sad aura about it, with feeling of regret coming from each character as they swallow themselves whole with addictions. Each one of them has something very dark in their past and they work very hard not to allow themselves to be exposed. Travolta and Macht play Bobby Long and Lawson, a strange professor/student relationship that has a dark past. Lawson is writing a book for Bobby Long about his experiences knowing the quirky poet. Love Song also has an interesting portion of the film devoted to the examination of the well known love affair between writers and alcohol.

A Love Song for Bobby Long has a light feel about it in between the moments of intensity, mostly thanks to the music, which has a nice southern feeling about it. Along with the music, much of the film has many techniques which help us to feel the surroundings in which the film takes place. As the seasons change, we feel what it is like, especially with the use of voice over by Macht.The moments where the film is most poignant are the ones in which Gabel makes his strongest choices as screenwriter; he takes quotes from famous authors. Literary fanatics that Bobby and Lawson are, they can quote authors as if they were telling the time of the day, and many of those quotes give us the mood of the film better than anything else. The quote which sums up the film best is the one by Robert Frost that says, “Happiness makes up in height what it lacks in length.”