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September Blu-rays Roundup
- Details
- Parent Category: Film and the Arts
- Category: Reviews
- Published on Sunday, 04 October 2009 15:39
- Written by Kevin Filipski
September Blu-rays Roundup
Camille
(NEM)
The mighty, photogenic Niagara Falls is the star of this specious would-be comic drama about a free spirited young woman, her reluctant husband and honeymoon plans gone awry. Sienna Miller pours on the overacting as Camille, James Franco tries to underplay her doormat husband, and veterans Scott Glenn, David Carradine and Ed Lauter look properly embarrassed as elders in this couple’s life.
For 90 minutes, we are force-fed cutesy dialogue, annoying caricatures masquerading as loveable eccentrics, and—too little, too late—stunning shots of one of the world’s natural wonders (even if those familiar with the area know that the movie’s geography makes no sense). Those shots of the Falls are top-notch on Blu-ray; there are no extras.
Dinosaurs Alive!
(Image)
This 40-minute film was originally made for 3-D viewing on those huge IMAX screens, so inevitably, there’s something lost watching it on a smaller TV screen. Even so, Dinosaurs Alive! is a treat for dinosaur lovers of all ages, as it mixes the latest findings with recreations of life millions of years ago, thanks to the very latest CGI technology.
Michael Douglas narrates as a group of eager scientists find and preserve fossils, but the real reason to watch is to see the dinosaurs in action, looking far more realistic and menacing than they did in Jurassic Park (which is ancient stuff now that it’s 16 years old). The bonus feature is a making-of documentary, along with BD Live material.
Disney’s Earth
(Disney)
This entertaining nature documentary shows us one year in the life of our planet’s animal kingdom, from polar bears in the Arctic to great white sharks off the coast of South Africa, with many others in between, all frolicking, hunting or being chased as James Earl Jones’ booming bass voice narrates.
Put simply, the photography by several teams over the course of five years is absolutely marvelous; it’s sometimes hard to believe that this is actual footage of real animals, not merely CGI effects (we’ve been spoiled by computerized “action” in current movies). Needless to say, this Blu-ray release is the gold standard, with breathtaking visuals, superb surround sound audio, and extras that delve into the fascinating outdoor shoot.
Easy Virtue
(Sony)
This rollicking adaptation of an early Noel Coward play plays off stiff-upper-lip British and devil-may-care Americans. Car racer Larita (deliciously haughty Jessica Biel) marries John Whittaker (Ben Barnes), son of whimsical Mr. Whittaker (Colin Firth) and bitch-on-wheels Mrs. Whittaker (sharply amusing Kristen Scott-Thomas); the household is turned upside down when John appears with his Yank bride.
Coward's wit, left intact by director Stephan Elliott and co-adapter Sheridan Jobbins, includes his perceptive look at the differences between Brits and Yanks. Elliott’s fresh musical take on songs by Coward and contemporaries punctuate the action, sung by the actors. (Yes, that's Biel’s breathy "Mad about the Boy" over the credits.) Extras are deleted scenes, gag reel, director’s commentary and the film’s New York premiere.
Hero
(Miramax)
Zhang Yimou’s 2002 martial arts epic outdoes Crouching Tiger, Hidden Dragon for eye-popping action, and with this Blu-ray release, goes far beyond what Ang Lee did. The 99-minute Hero is an epic in the truest sense, covering lots of visual and narrative ground in a breathtaking fashion, notably the explosive fight sequences, where the participants literally fly around each other, and the incredible widescreen compositions that feature the most delirious color-coding ever. An array of stars—Zhang Ziyi, Jet Li, Maggie Cheung and Tony Leung—are sensational eye candy, but Hero itself is the star, with Blu-ray’s hi-def transfer giving it a thrilling new “look.” Extras include making-of featurettes and interviews.
Iron Monkey
Legend of the Drunken Master
(Miramax)
These two action flicks, along with the far superior Hero and far bloodier Zatoichi, form The Ultimate Force of Four Blu-ray boxed set. Drunken Master is a vintage Jackie Chan vehicle, and Iron Monkey is a mediocre example of the genre, which is why “Quentin Tarantino Presents” is being slapped on its cover. And why not? If neither movie is especially memorable or original, each has its moments, and the fast-paced stunts and action sequences are worth it for those who take the trouble to watch them. The films don’t look as good as Hero (what could?) or Zatoichi, but the transfers are acceptable, and extras include interviews, behind the scenes glimpses.
The Quick and the Dead
(Sony)
This forgettable 1993 western is director Sam Raimi’s most derivative film, with none of the stylishness he brings to his horror flicks. The actors largely phone it in, from Sharon Stone’s vengeful woman to Gene Hackman’s nasty villain; only Leonardo DiCaprio has any bounciness to his performance.
Even the Blu-ray transfer isn’t much of an upgrade from the original film, which might have been the lone reason to sit through it again. There aren’t any extras, either.
Silverado
(Sony)
Lawrence Kasdan’s revisionist western seemed a breath of fresh air in 1985, but its jokiness and sentimentality haven’t worn well. A capable cast (Kevin Kline, Scott Glenn, Danny Glover, Brian Dennehy) is overwhelmed by Kasdan’s cutesiness and inability to take anything seriously, so that when the dramatic climaxes kick in, they are at sea.
Kevin Costner, in his first starring role, acts so unhinged that it’s unsurprising it took another couple years (with Bull Durham and The Untouchables) for him to become a star. At least Silverado looks fine on Blu-ray, with stunning New Mexico locations doing the bulk of the work. Extras include new interviews with Kasdan and Costner.
Sons of Anarchy
(Fox)
This biker drama is based on Hamlet, of all things, and stars Ron Perlman and Katey Segal as leaders of a gang who take matters into their hands too often, which gives her son (Charlie Hunnam) pangs of conscience. As with many new action series, Sons of Anarchy is so visually fluid that it takes awhile to realize how hackneyed its storylines and characters are. But—particularly on Blu-ray—enough is notable both visually and histrionically (the excellent acting is led by the always underrated Segal) that it remains a fun if bumpy ride. Extras include interviews, deleted scenes, a gag reel and making-of featurettes.
Sugar
(Sony)
Anna Boden and Ryan Fleck’s follow-up to Half Nelson is a subtly-done character study about a Dominican baseball player (an authentic portrayal by Algenis Pérez Soto) who begins playing for an Iowa farm team hoping to graduate to the big leagues. With minimal condescension and maximal insight, Sugar shows the difficulties for both Latino players and their American hosts, balanced by small triumphal moments on and off the field for someone desperately trying to learn English while deal with teammates and coaches…and remembering his family back home.
Well-shot with a subdued palette by cinematographer Andrij Parekh—and faithfully rendered in the first-rate Blu-ray transfer—Sugar fulfills the promise of this writing-directing team’s debut. Extras include interviews and making-of featurettes.
Terminator: The Sarah Connor Chronicles
The Complete Second Season
(Warners)
This action-packed chronicle of a future where robots and humans do battle was inspired by the Terminator films starring a certain California governor. But the heroine, Sarah Connor (played by Linda Hamilton on the big screen and by Lena Headey here), is the nexus of the series. Even amid dynamic set pieces, Headey’s dignified portrayal humanizes and propels the show forward.
On the debit side, this is a five-disc Blu-ray set whose material could snugly fit on two or three discs. Still, the visuals are spectacular, and the solid extras include commentaries on select episodes, storyboards, “terminated” scenes and behind-the-scenes featurettes.
The Blind Swordsman: Zatoichi 
(Miramax)
Takeshi Kitano’s samurai epic has the requisite buckets of squirting red blood, but it’s a far cry from Kurosawa’s and Kobayashi’s classics. Whether he was aiming to update or outdo them is immaterial, since he does neither. Zatoichi is well-made, like all Kitano films, with cleverness in the storytelling and filmmaking. And the bloodletting sequences look absolutely fantastic in the new hi-def transfer: you’ll instinctively cover your eyes to avoid being hit by spurting red geysers.
Just don’t expect anything earth-shattering: unless, of course, you’ve never seen Seven Samurai, Yojimbo, Sanjuro, Hara-kiri or Samurai Rebellion! Extras include a 50-minute making-of featurette and interviews with Kitano’s collaborators.
The Brightest Star
- Details
- Parent Category: Film and the Arts
- Category: Reviews
- Published on Wednesday, 23 September 2009 09:07
- Written by Kevin Filipski
Poets have never been served well on the big screen; why is it so difficult to show artists practicing their art without getting ludicrous? The nadir of poetic biopics is Agnieszka Holland’s Total Eclipse (1995), which paired the doubly-miscast Leonardo DiCaprio and David Thewlis as the French poets Rimbaud and Verlaine. The former’s name often sounds like “Rambo” when spoken, and the rest of the movie follows suit, to giggle-provoking effect.
So it’s to Jane Campion’s credit that, in her film about 19th century British poet John Keats’ affair with Fanny Brawne, Bright Star, never descends to those depths. If anything, Campion errs in the opposite direction, not highlighting the act of literary creation but rather the romance, which makes the film more conventional and more palatable.
Campion’s film covers the final years of Keats’ tragically short life (he died in Rome at age 25 of tuberculosis), when headstrong, intelligent Fanny became his muse and lover. Poetically illiterate, Fanny was a talented seamstress and consistently spoke her mind on various subjects, a rarity for a woman of that time. In that sense, she’s of a piece with the strong-willed heroines of Campion’s other films, from her debut, Sweetie, to her most recent feature, In the Cut. That Campion presents their relationship entirely from Fanny’s point of view might be historically suspect but dramatically correct, since it concentrates on them as people, not as a martyred poet and his long-forgotten muse.
It also allows Ben Whishaw and Abbie Cornish to give splendidly authentic portrayals. Whishaw’s strong acting as Keats never turns him into the eternally moribund artist, which would have been the easy way out. He also plays Keats’ youthfulness as part of his personality, which humanizes him considerably.
Still, it’s Cornish’s Fanny that pushes Bright Star above the usual moribund movie fare that tramples on real-life stories like so many wild elephants. Cornish is that rare actress who never falls into the trap of over-emoting, instead burrowing into the soul of every character she plays, whether an addict in Candy, a returning Iraq War soldier’s girlfriend in Stop-Loss, or even a young American girl in France in A Good Year. Similarly, as Fanny, Cornish’s wonderfully subdued acting makes us care for her and her love for Keats. When she hears the news of his death and doubles over sobbing as if she were in physical pain, it’s an emotionally gut wrenching moment of the kind one rarely experiences onscreen.
Campion’s luscious visual palette (high marks to Greig Fraser’s impressively tangy cinematography) never sinks to the annoyingly expressionistic look of the earlier Sweetie, The Piano and The Portrait of a Lady. And early 19th century England is presented realistically, as it was lived, not as it’s supposed to look in the movies: for example, the scenes where Keats’s poetry (especially excerpts from his epic poem "Endymion") is read are handled in an off-hand, almost casual manner, what is probably was like in reality.
Even though it’s being marketed as a heart-melting romance (and can certainly be enjoyed that way), Bright Star tells an adult story with penetrating intelligence, making it Campion‘s best film since An Angel at My Table, her 1990 biopic about New Zealand writer Janet Frame. Maybe she should stick to real people.
Bright Star
Directed and written by Jane Campion
Starring Abbie Cornish, Ben Whishaw, Kerry Fox, Paul Schneider
Opens September 18, 2009
Old And New Numbers Dazzle At Broadway On Broadway
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- Parent Category: Film and the Arts
- Category: Reviews
- Published on Tuesday, 22 September 2009 21:13
- Written by T. Terry Maloney
Performances by stars from the long-running Broadway hit Chicago and by newcomers from the upcoming musical Memphis were among the highlights of the 18th Broadway on Broadway, the free outdoor concert held annually in Times Square from 43rd to 47th Streets.
The sultry, gyrating singers and dancers from Chicago, including star Deidre Goodwin, electrified the crowd of thousands with the classic "All that Jazz." Then, Chad Kimball, the male lead in Memphis, "brought down the house" with his beautiful rendition of "Memphis Lives in Me." The musical, opening Sepember 23rd at the Shubert Theater, is the story of an interracial romance in the segragated south of the 1950s, played against a background of the burgeoning rock and roll era.
Film and television star Michael McKean hosted the event which kicked off the 2009-2010 Broadway theater season. McKean is starring in the play Superior Donuts at the Music Box Theater, currently in previews and scheduled to run through January 3, 2010. The Steppenwolf Theater production was written by Tracy Letts, the author of August: Osage County.
Other performers included: and Kerry Butler of Rock of Ages, who had the huge crowd singing along with the Journey classic "Don't Stop Believing;" Daniel Breaker, star of Shrek the Musical (minus the costume) along with co-stars Sutton Foster and Ben Crawford; Kate Baldwin and Cheyenne Jackson from Finians Rainbow; Tony Award winner Alice Ripley along with Jennifer Damiano and Aaron Tveit from Next to Normal; Anya Garnis and Pasha Kovalev of the dance extravaganza Burn the Floor; Beth Leavel from Mamma Mia; Cassie Levy of Hair; Christine Noll from Ragtime; Laura Osnes of South Pacific and a non-singing John Stamos, who will star in the first Broadway revival of Bye Bye Birdie thru January 10, 2010.
Other shows represented by dancing and/or singing cast members included In the Heights, Jersey Boys, Billy Elliot the Musical, the upcoming Bye Bye Birdie, Fela!, The Lion King, Phantom of the Opera, West Side Story, Wicked and White Christmas (minus the heavy winter clothing worn by an earlier cast at last year's Broadway on Broadway.)
The huge finale led by Stamos and McKean featured cast members from all featured show singing New York, New York and punctuated by the shooting of thousands (millions?) of square bits of colorful "confetti" into the late summer air, many of which made it to the site of Fashion Week several blocks east in Bryant Park. and most likely beyond (I stopped searching at Fifth Ave,).
Broadway on Broadway 2009, produced by the Broadway League and the Times Square Allaince, was presented by Bucik LaCrosse and Continental Airlines. It is part of Back2Broadway Month celebrating the Great White Way with free events, special ticket offers, dining discounts, concerts, interactive activities and the annual BC/EFA Flea Market and Grand Auction on Sunday, September 27th.
For more info go to: www.ILoveNYTheater.com
Ellsberg, A Dangerous Man
- Details
- Parent Category: Film and the Arts
- Category: Reviews
- Published on Tuesday, 15 September 2009 10:01
- Written by Kevin Filipski
Patriotism became trendy during the Bush years, when many thought that simply slapping yellow ribbon “Support the Troops” magnets on their SUVs would make them automatically daring and brave as they defended American values while driving around their neighborhoods. Daniel Ellsberg’s story—as chronicled in Judith Ehrlich and Rick Goldsmith’s incisive and absorbing documentary portrait, The Most Dangerous Man in America (opens September 16, 2009, the Film Forum, 209 West Houston Street)—puts the lie to such lazy patriotism by recreating another volatile time when some people put their country’s well-being ahead of themselves.
Ellsberg entered the annals of American history in 1971 when he was unmasked as the man behind The Pentagon Papers, top-secret documents about our involvement in Vietnam passed on to the New York Times and other newspapers. Rightly viewed as a hero by many, he’s also been wrongly vilified as a traitor, but Ellsberg is a true patriot who put his life on the line for what he believed was in the best interests of his country.
It took awhile for Ellsberg to become affected by our long slog in Vietnam, but once he did (after he began dating Patricia Marx, a radio host who became his second wife), he realized that he must risk his own freedom to help stop a war he watched become a fiasco.
Ehrlich and Goldsmith have made a standard talking-heads documentary dressed up by canny use of archival material such as photographs, video footage and priceless snippets from the Nixon tapes, particularly when the president laments (in his view) Ellsberg’s treason and the press aiding and abetting it. And we thought that this kind of White House paranoia and name-calling began after September 11!
The filmmakers’ ace in the hole is Ellsberg himself, who narrates the film. Following his mistrial on charges of conspiracy and theft, the charismatic Ellsberg has walked the walk for the past four decades as a dedicated peace activist, having been arrested numerous times while protesting. The filmmakers also interview his wife Patricia, former Rand colleagues and journalists; even Nixon administration honcho John Dean chimes in.
Why so many of today’s documentaries must show re-enactments of pivotal events (i.e., when Ellsberg and his children are nearly busted by L.A. police while copying classified materials) is mystifying; whenever shoehorned in, they threaten to drag the film down to the level of a melodramatic History Channel program.
Overall, however, The Most Dangerous Man in the America is a movie that all Americans would do well to see: its hero reminds us of the real definition of patriotism.
The Most Dangerous Man in America:
Daniel Ellsberg and the Pentagon Papers
Directed and written by Judith Ehrlich and Rick Goldsmith
Featuring Daniel Ellsberg, Patricia Ellsberg, Howard Zinn, John Dean, Egil “Bud” Krogh, Hedrick Smith, Max Frankel, Anthony Russo
Opens September 16, 2009 at
Film Forum
209 West Houston Street
filmforum.com
