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Film Review: "Frozen"

Details: Parent Category: Film and the Arts; Category: Reviews; Published on Wednesday, 27 November 2013 04:20; Written by Matt Oakes

"Frozen"
Directed by Chris Buck, Jennifer Lee
Starring Kristen Bell, Josh Gad, Idina Menzel, Jonathan Groff, Santino Fontana, Alan Tudyk, Ciarán Hinds, Chris Williams, Stephen J. Anderson
Animation, Adventure, Comedy
108 Mins
PG

Although still lacking the gilded touch that made the likes of Aladdin, Lion King, and Beauty and the Beast such timeless classics, Frozen is a rock solid addition to the post-hand-drawn Disney musical stable and is the best animated feature of the year by a good margin.

Made up of a relatively unknown vocal talent, Frozen values story and song more than an all-star cast and kitschy pop culture jokes, making it an experience that'll warm the most curmudgeonly of hearts and a film rich with beautifully-realized animation that keeps the wow factor buzzing for children and adults alike.

November '13 Digital Week IV

Details: Parent Category: Film and the Arts; Category: Reviews; Published on Monday, 25 November 2013 03:06; Written by Kevin Filipski

Blu-rays of the Week

Dexter—The Final Season

(Showtime)

Television’s most complicated serial killer drama draws to a close after the 12 episodes of its eighth season: as usual with many such shows, there’s enough fine acting to cover up excessive plot and characterization holes.

Michael C. Hall’s conflicted Dexter is nicely balanced by the finely delineated performance of Jennifer Carpenter as the cop in love with him. The hi-def image looks wonderful; extras include featurettes and interviews.

The Fitzgerald Family Christmas

Prince Avalanche (Magnolia)

Edward Burns keeps trying: the writer-director-actor’s latest saccharine rom-com, Fitzgerald is as trite as all his other films, but at least it has the saving grace of Connie Britton and Heather Burns as two of the women in his life.

David Gordon Green’s subdued, enjoyable Prince is a melancholy look at brothers-in-law (Paul Rudd and Emile Hirsch, both excellent) trying to connect while working together. The Blu-rays look fine; extras are Burns’ commentary (on Fitzgerald) and Green’s commentary, deleted scene, interviews and featurettes (on Prince).

Girl Most Likely

(Lionsgate)

When a failed playwright loses her man and her job, she’s sent into a psychological tailspin and back to the family home in New Jersey; a cast led by a happily understated Kristen Wiig and a hilariously tarted-up Annette Bening makes this watchable.

Too bad Michelle Morgan’s script labors with trite comic touches while Shari Springer Bergman and Robert Pulcini’s direction is anything but focused. The Blu-ray is first-rate; extras are a gag reel, deleted scenes and featurettes.

JFK—American Experience

(PBS)

What better time for a four-hour documentary on John Kennedy than the 50^thanniversary of his assassination? PBS agrees, hence this involving and not uncritical look at JFK’s life, from growing up as ambassador Joseph Kennedy’s sickly son to his fateful presidency.

Narrated by Oliver Platt, Susan Bellow’s film, which makes particularly good use of interviews, photos and vintage video and audio footage, also uses its excessive length to go into more depth. The Blu-ray image is quite good.

Planes

(Disney/Pixar)

The latest comedy to roll off Pixar’s animated assembly line is this lazy sequel of sorts to the smash Cars,with the usual assortment of non-stop jokes, bad puns and desperate pop culture allusions.

If that kind of humor floats your boat—or, to coin a relevant phrase, flies your plane—then you are and your children are the willing audience for this movie. The Blu-ray image looks good; extras include featurettes and a music video.

The Rolling Stones—Sweet Summer Sun

(Eagle Rock)

This past summer, the self-named world’s greatest rock’n’roll band returned to London’s Hyde Park for its first concert there since 1969, two hours of baby-boomer nostalgia from a group past its prime with a catalog of so many classic tunes it’s disappointing the show isn’t longer. (McCartney regularly pushes three hours in his Beatles-laden shows.)

Former Stones guitarist Mick Taylor returns for guest appearances on “Midnight Rambler” and “Satisfaction,” and bonus tracks include a rare live performance of “Emotional Rescue.” Both image and sound are superlative in hi-def.

Russian Ark

(Kino Lorber)

Aleksandr Sokurov’s dazzling visual feat—a one-shot, 96-minute tour of The Hermitage, one of the world’s great art museums—was made in 2002, long before small digital cameras became ubiquitous, so watching it now makes it even more impressive.

This dazzling historical fantasy is as formidable putting hundreds of extras through their one-take paces as it is visually. The Blu-ray image looks amazing; the lone extra is a 45-minute making-of (unfortunately, commentary and interviews from the original DVD are missing).

Violet and Daisy

(Cinedigm)

This weird character study follows two young hitwomen who—after killing while dressed as pizza-delivering nuns—meet their match while tracking a mysterious, intimidating loner, played with consummate skill by James Gandolfini in his one of his last roles.

Writer-director Geoffrey Fletcher is lucky to have Gandolfini along with Alexis Bledel and that incredible chameleon Saoirse Ronan as the eponymous girls: the trio’s rapport helps trample the writer-director’s otherwise heavy hand. The hi-def image is good.

We’re the Millers

(Warners)

Bring together a dope seller, stripper, virginal teen boy and foul-mouthed homeless teenage girl as a “family”—don’t ask why—and you’ve got comedy at its crudest. And director Rawson Marshall Thurber labors too hard over the obvious situations and dialogue conjured up by four (!!) writers.

Jason Sudekis and Jennifer Aniston are tolerable, but the movie’s aces are Will Poulter and Emma Roberts as the kids: the filmmakers should have been smarter and concentrated on them even more. The extended version is raunchier, the Blu-ray transfer is solid, and extras include gag reels, outtakes, deleted scenes and featurettes and interviews.

The World’s End

(Universal)

Their third collaboration (after Shaun of the Dead and Hot Fuzz), writer-director Edgar Wright and writer-actor Simon Pegg’s ramshackle, sometimes funny but sophomoric comedy concerns a group of middle-aged men who, while on a pub crawl to recall their carefree younger days, discovers that almost everyone else is actually a robot as part of an ongoing alien invasion.

As dopey as it sounds, the movie is actually fun for awhile…until the sci-fi plot kicks in, and we get puerile comedy and “horror,” a hybrid that doesn’t work. With its obvious double-meaning title—it’s the name of a pub—so what else should we have expected? The Blu-ray image looks excellent; extras include commentaries, featurettes, deleted scenes and outtakes.

DVDs of the Week

All-Star Orchestra—Programs 1-8

(Naxos)

In this series, Gerard Schwartz discusses and conducts several classical works, divided into categories like “Music for the Theatre” (Stravinsky and Ravel), “Relationships in Music” (Brahms and Schumann), “Mahler” (his Symphony No. 2) and “What Makes a Masterpiece?” (Beethoven’s Fifth Symphony).

All are played superbly by Schwartz’s all-star musicians, and there’s a healthy amount of contemporary works included, from Ellen Taaffe Zwilich’s zippy Avanti! to Richard Danielpour’s Piano Concerto No. 4, subtitled Mirrors. The programs’ combined commentary and performance illuminates the music.

The Day Kennedy Died

(Smithsonian)

JFK—One PM Central Standard

(PBS)

For the 50^th anniversary of JFK’s assassination, several programs—including these—looked at the event from different angles. Smithsonian’s Day (narrated by Kevin Spacey) is an engrossing 100-minute overview of that horrible day, from the moment Jack and Jackie got to Dallas that morning until he left in a coffin and she bloodied at his side that evening, with survivor and eyewitness interviews alongside vintage footage.

PBS’s One PM (narrated by George Clooney) concentrates on CBS anchor Walter Cronkite’s decision to wait to announce JFK’s death until it was official, ignoring rumors and pressure. Both docs present that devastating day in its historic and emotional context.

Here’s Edie—The Edie Adams Television Collection

(MVD)

To many, Edie Adams is best known for her Cut’n’Curl beauty salons, but as this four-disc set shows, she was much more than a mere name: she was an appealing and lovely comedienne, dancer and singer.

Her two television variety shows—Here’s Edie and The Edie Adams Show (1962-64)—are given retrospective life here, and their 21 episodes not only show her talent in comedic sketches and songs, but also showcases her special guests like Count Basie, Duke Ellington, Bob Hope and Johnny Mathis. Extras are her musical performances on husband Ernie Kovacs’ 1950s variety show.

Kinky Boots

(Miramax/Echo Bridge)

Now best known as a Tony-winning musical with Cyndi Lauper songs, Julian Jarrold’s 2005 dramedy about a northern England shoe factory has its own frisky humor, sentimentality and attractive performances by Joel Edgerton, Sarah-Jane Potts and Chiwetel Ejiofor (an Oscar contender for12 Years a Slave).

This fantasy based on a true story is a harmless enough diversion. Extras include director/stars commentary, deleted scenes with director commentary, alternate scenes and featurettes.

Oui, Girls

(Impulse Pictures)

Unlike today’s “gonzo” (plotless) porn, the 70s/80s “golden age” comprised movies that aped their Hollywood counterparts, however indifferently acted, directed and written.

But those movies also lived or died by their stars’ sex appeal, and this dumb parody of detective movies has Anna Ventura—one of the most beautiful women to ever grace triple X—in the lead role, as well as appearances by other top stars of the era like Sharon Kane, Lisa de Leeuw and Tiffany Clark.

Thérèse

(MPI)

Claude Miller was an underrated French director, and his last film (he died at 70 last year) is as typically elegant and understated as his best work (A Secretand I’m Glad My Mother Is Still Alive). This adaptation of Francois Mauriac’s novel shows the unhappy relationship between the title heroine and her husband, culminating in a botched murder attempt and fractured marriage.

Audrey Tautou’s impassioned performance is full of inner rage and sadness, while Gilles Lellouche plays the husband with a shrewd mix of bravado and banality. Gerard de Battista’s luminous photography and Lauren Brenguier’s richly authentic set design underscore a low-key tragedy that’s the perfect epitaph for its maker.

CDs of the Week

Matilda—Original Broadway Cast Recording

(Broadway)

The blockbuster Broadway hit imported from London doesn’t translate as well to recording: Tim Minchin’s songs need to be heard in context while watching Roald Dahl’s story of a precocious little girl who changes the attitudes of her classmates and teachers.

Still, rousing numbers like “Naughty” and “Revolting Children” hit the spot, and the cast is never less than spot on, especially Bertie Carvel as Miss Trunchbull. As a souvenir of the show, kids of all ages will enjoy it.

Tears for Fears—The Hurting

(Universal)

Thirty years later, Tears for Fears releases a deluxe edition of its debut album, the original 10 tracks bolstered by a slew of extras on a second disc. While a product of its time—the prominent synths sometimes overpower the attractive melodies—The Hurting powerfully marries the darkness of The Cure with the memorable melodic facility of Roland Orzabal and Curt Smith, first-rate songwriters and singers from the haunting title track opener to the powerful finale, “Start of the Breakdown.”

Lyrical naiveté notwithstanding, the irresistible hooks on “Pale Shelter” and “Change” should have been worldwide smashes like “Shout” and “Everybody Wants to Rule the World.” If the bonus disc is a mish-mash of remixes and extended tracks (B-sides “Wino,” “The Conflict” and “We Are Broken,” while nice to hear, are negligible), the album is a close second to the band’s best work (Songs from the Big Chair and The Seeds of Love).

Film Review: "Nebraska"

Details: Parent Category: Film and the Arts; Category: Reviews; Published on Friday, 22 November 2013 18:04; Written by Matt Oakes

"Nebraska"
Directed by Alexander Payne
Starring Will Forte, Bruce Dern, June Squibb, Bob Odenkirk, Stacy Keach, Mary Louise Wilson, Kevin Kunkel
Adventure, Drama
115 Mins
R

Nebraska starts with the oldschool painted mountains of the Paramont logo, a veiled reminder of the golden days of the USA, and jumps into an austere black-and-white landscape of Montana as Bruce Dern's Woody Grant stumbles down the snowy strip of government manicured grass between some train tracks and a largely vacant highway. Convinced he has won a million dollar prize, Woody's intent on claiming his winnings in Nebraska even if that means walking the entire eight hundred mile trip on foot. A reminder of how off the tracks his life has veered, Woody sees his not-too-good-to-be-true grand prize as a means to a life he never had - a golden ticket to meaningfulness and utility long lost.

Reinvention is not that simple though, a fact illustration by the simple reality that Woody's prize is very clearly a scam - the stuff of Mega Sweepstakes Marketing mailing centers intent on pawning off China-made trinkets or magazine subscriptions. His family knows the truth of this hollow sham and treats his bullheaded demand to head southeast as a warning sign that he might be more than ready for a retirement home but Woody is steadfast in his plans of great forture.

Film Review: "Delivery Man"

Details: Parent Category: Film and the Arts; Category: Reviews; Published on Friday, 22 November 2013 17:56; Written by Kyle Sittig

Whether our viewing sensibilities are just outgrowing Vince Vaughn or people just aren’t writing good showcases for him, it is undeniable that his career is not what it once was. Wedding Crashers came out eight years ago. Let that sink in. I’m of the opinion that the problem has been the material. Ken Scott directs the remake of his own 2011 film Starbuck, which provides an avenue for Vaughn to branch out a little from his typical snarkiness. The result is a surprisingly heartwarming film, if not a bit on the forced side. With some serious revisions, this could have been a great film.

Comedies these days have such farcical plots that you have to just roll with it. If the idea of a man being hunted down by over a hundred of his own illegitimate children doesn’t instantly set off your BS meter, you can probably handle Delivery Man’s multitude of plot holes, inconsistencies, and “yeah right” moments. In reality, the contract of an anonymous sperm donor is rock solid. In the world of Delivery Man, however, David Wozniak has to deal with the fact that 142 of his 500 plus sperm donations are suing to know his identity. On top of this, he has to deal with becoming a “real” father.

After Vaughn learns the identity of the lawsuit children, he takes to stalking them and playing guardian angel. Stalking one of his daughters, he defends her from catcalls. For a musician son, he encourages donations to his street performances. One particularly offensive thing is the way Scott portrays a daughter who overdoses on heroin. Vaughn has the opportunity to send the 17 year old addict to rehab, but instead chooses to take it on faith that she can handle herself, making it painfully obvious that Scott has never dealt with drug addiction in any capacity. For anyone reading this, in case you didn’t know, send them to rehab. Disappointingly for the films own potential, she keeps her word to this man she has never met before, presumably kicking the drugs. What a great opportunity, to teach Vaughn’s character a harsh lesson about parenthood, wasted.

Parks and Recreation star Chris Pratt plays opposite Vaughn, as his comically stupid lawyer friend. Their exchanges are often hilarious, but still fail to carry the necessary weight, given how much screen time they take up. Pratt brings much of the films comedy, but might conflict a little too much with the realism of the film. His childlike demeanor in the courtroom scenes exist to show just how open-and-shut this case is.

Vaughn’s character also owes 80 grand to some seedy folk, adding a sense of urgency to the film that feels artificial. This is basic screenwriting 101 stuff. A plot device like this should be more ingrained within the film. It ends up being his reason for countersuing the sperm donation facility for defamation. Wouldn’t greed be a much more interesting motivator, though? Also, this falls flat because the stakes of his trial aren’t that serious. There should be some consequences when his children find out who he is. Instead, they are joyous and relieved. This is all fine and good for the feel-good factor, but I wanted some more authenticity added to the stakes.

In the end, Delivery Man doesn’t quite have the comedic chops to be a great comedy, nor does it have the dramatic chops to be a great dramady. And that was the problem. No matter how much I was enjoying the movie, I just felt it wasn’t something I would never want to come back to.

Film and the Arts

Film Review: "Frozen"

November '13 Digital Week IV

Film Review: "Nebraska"

Film Review: "Delivery Man"

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