New Releases On Blu Ray & DVD: 10/15/13

A couple of hit films released last summer that I almost forgot about lead the pack of new releases on home video today: Guillermo del Toro’s PACIFIC RIM, and Paul Feig’s THE HEAT. PACIFIC RIM, a big ass sci-fi action film dealing with giant robots battling giant monsters starring Charlie Hunnam, Idris Elba, Rinko Kikuchi, and Charlie Day, is available in a 3 disc Blu-ray + DVD + UltraViolet Combo Pack and a 2 disc Special Edition DVD + UltraViolet package.

Special Features: Audio commentary by director Del Toro, thirteen Focus Point featurettes equaling over an hour, an interactive feature “The Director’s Notebook,” an archive of the film's key design art: “The Shatterdome,” something called “Drift Space,” bloopers, and deleted scenes.

THE HEAT, the so-so Sandra Bollock and Melissa McCarthy buddy cop comedy, is out this week in a 2 disc Blu-ray / DVD + Digital HD edition, and a single disc DVD release. There are way too many Special Features to list here so let’s just say it includes the theatrical and unrated versions of the film, more than one gag reel, deleted scenes, extended scenes, bloopers, and multiple commentaries including one by the original lineup from Mystery Science Theater 3000 (!). Looks like if you happen to be a big fan of THE HEAT, you’re in for quite a feast of extras.

Franck Khalfoun’s remake of William Lustig’s 1980 slasher film MANIAC also hits home video today in both 1 disc Blu ray and DVD editions. The brutal gore-filled horror film is hard to watch at times, but effectively constructed as it’s almost completely seen through the eyes of its sicko protagonist portrayed by Elijah Wood. Director Khalfoun, Wood, and executive producer Alix Taylor provide a commentary, among other bonus material such as an almost feature length “Making of” doc, poster gallery, deleted scenes, and the theatrical trailer.

Tobias Lindholm’s A HIJACKING, that has a premise similar to the currently playing Tom Hanks hit CAPTAIN PHILLIPS, i.e. a cargo ship is hijacked by Somali pirates, releases today also on 1 disc Blu ray and DVD editions. The basic plot may be the same as CAPTAIN PHILLIPS, but Lindholm’s film, which he also wrote the screenplay for, deals more with the long negotiations over the high-seas hostage situation that go on for several months. Special Features consist of five behind-the-scenes featurettes and the theatrical trailer.

Comic Kevin Hart’s stand-up comedy performance film LET ME EXPLAIN, directed by Leslie Small, drops today in a 2-disc Blu ray package and a single disc DVD. The film, which has drawn comparisons to Richard Pryor and Eddie Murphy’s classic stand-up movies, is made up mostly of highlights from Hart’s 2 sold out Madison Square Garden shows in 2012. Special Features: a few featurettes (“No, No, No, Let Us Explain,” “Backstage Pass”), and three music videos (“Let Me Explain” title song featuring Erick Sermon, Snoop Dogg, Method Man & RL, “Let Me Explain” theme song “The Narcissist” featuring American Antagon 1st, and “Pop Off” by Doeshun featuring Ray Ray & Ruck).

Other notable new releases today include: Richard Rowley’s documentary DIRTY WARS, Jeff Renfroe’s sci-fi horror flick THE COLONY, Chad Crawford Kinkle’s low budget horror production JUG FACE, Catherine Hardwicke’s erotic thriller PLUSH, and Johnnie To’s Chinese-Hong Kong action film DRUG WAR.

On the older films out today front we’ve got the Blu ray debut of George Roy Hill’s 1977 classic hockey comedy SLAP SHOT, the 40th Anniversary Edition of Clint Eastwood’s HIGH PLAINS DRIFTER, the 10th Anniversary Edition of LOVE ACTUALLY, Robert Wise’s 1963 horror classic THE HAUNTING, John Carpenter’s 1994 horror film IN THE MOUTH OF MADNESS, John Sturges’ 1976 war epic THE EAGLE HAS LANDED, Curtis Harrington’s 1961 thriller NIGHT TIDE (starring a young Dennis Hopper), and the Kino Classics Remastered Edition of Orson Welles’ unjustly overlooked 1946 film noir thriller THE STRANGER.

Star Wars: The Clone Wars – The Complete Fifth Season from Executive Producer George Lucas and Lucasfilm Animation is out today in a 3-disc Blu ray set, and a 4-disc DVD set. Extras on what is considered by fans to be the best season of the series includes director’s cuts of two episodes, a bunch of behind the scenes featurettes, cast and crew interviews, deleted scenes, and alternate scenes.

Other TV series sets releasing today include Vikings: Season One, The Fall: Series 1, Defiance: Season One, Maverick: The Complete Third Season, Bewitched: The Complete Series, I Dream of Jeannie: The Complete Series, The Partridge Family: The Complete Series, and for all you Charlie Sheen fans, Anger Management Season 2.

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Catching Up With The Classics: Akira Kurosawa’s HIGH AND LOW (1963)

Since I took July off from babbling ‘bout film to work on a book project (and go on vacation with my wife in Virginia), I thought instead of writing about some big new movie at the multiplex, I’d jump back into the blogosphere with a post about a classic I just caught up with. A black and white Foreign one at that.

I’ve seen a bunch of the films of the late great Japanese filmmaker Akira Kurosawa (1910-1998) over the years, but somehow never got around to seeing his 1963 thriller of sorts HIGH AND LOW until now. 

A co-worker spoke of re-watching it recently and I made the mental note to put it in my Netflix queue. So glad that I did because it had me from the get go with Toshirô Mifune’s intense performance as an executive for a shoe manufacturing company trying to fight off his colleagues attempts to cut costs and quality in a starkly shot opening scene.

With 16 films under the director, Mifune was to Kurosawa what Humphrey Bogart was to John Huston, or Robert DeNiro to Martin Scorsese, but the duo are more known for their Samurai movies than their modern day dramas like this one that they made together between 1948-1965.

The Hitchcockian HIGH AND LOW (aka “Heaven and Hell”) can be broken down into 3 acts. The first is set mostly in the interior of Mifune’s luxurious mansion overlooking the city of Yokohama and concerns the tycoon dealing with the kidnapping of his chauffeur’s son. The kidnappers meant to abduct Mifune’s son, but the kids who were playing “Cowboys and Indians,” or more accurately “Sheriffs and Outlaws,” had switched outfits.

In long unbroken widescreen shots a stressed-out Mifune wrestles with whether or not to pay the huge ransom (30 million yen). Paying it would ruin him as he just mortgaged his house in order to gain more control of his company, but not paying could destroy his reputation and his business could suffer greatly.

The Chauffer (Yutaka Sada), and Mifune’s wife (Kyōko Kagawa) beg Mifune to pay the ransom, while a dapper police detective (Tatsuya Nakadai) suavely oversees the situation. Mifune gives in and arranges to make the exchange for the child. Turns out the kidnapper has cleverly planned to have Mifune throw the money in 2 suitcases out of the window of a moving train, with the boy being released near the next stop. “Damn clever” Nakadai says.

The train sequence, which heightens the tension of the movie greatly, begins the second act. The film’s police procedural p.o.v. intensifies with the investigation into the kidnapping leaving no stone unturned. The cop that the Dude in THE BIG LEBOWSKI asks about leads may have joked sarcastically about detectives working in shifts at the crime lab, but here the police are definitely putting in overtime studying films, photos, and even the kid’s crayon drawings to close this kidnapping case.

The third act consists of the kidnapper (Tsutomu Yamazaki) being identified by the police and getting caught in their trap involving a heroin deal. I recently read a rant by a filmmaker about how framing something or somebody dead center is boring, but Kurosawa’s cameras, manned by cinematographers Asakazu Nakai and Takao Saito, keep Yamazaki in the middle of many shots as he makes his way through the dark streets, and it’s never not visually interesting.

In one shot a mirrored wall in a crowded club is shown, seemingly at an angle, but as the camera pans across the room we see that the wall itself was slanted, and Yamazaki in a strikingly bright white collared shirt and shades again enters in the center. 1995's SIN CITY (Dirs. Frank Miller, Robert Rodriguez, and Quentin Tarantino) featured a nod to this imagery via Elijah Wood's psychopathic character, Kevin.

During this sequence, the policemen following him are demoted to supporting players in the shadows, with the antagonist eerily commanding all of our attention.

These scenes also show how Westernized Japan had become in the early ‘60s. The sight of drunk patrons dancing to surf guitar music blaring from a jukeboxes in noisy bistros isn’t that far removed from background fodder in a MGM Elvis movie from the same era.

HIGH AND LOW is a multi-layered story told straight with little in the way of artistic flourishes and it’s all the better for it. The non-flashy clarity of the screenplay by Kurosawa, Hideo Oguni, Ryûzô Kikushima, and Eijirô Hisaita (based on the 1959 novel “King’s Ransom” by Ed McBain) makes for a very satisfying watch.

As densely detailed as it is, HIGH AND LOW ultimately boils down to a concept as simple as its title. “The kidnapper is right,” says one of the investigators looking at Mifune’s mansion from the poverty stricken streets below.

“The house gets to you…as if it’s looking down on you.” This view is confirmed by Yamazaki meeting face to face with Mifune in the final scene.

“Why should you and I hate each other?” Mifune asks. “My room was so cold in winter, and so hot in summer I couldn’t sleep. Your house looked like heaven to me, high up there,” Yamazaki explains. “That’s how I began to hate you. That gave me a purpose in life. It’s interesting to make fortunate men unfortunate.”

Unsurprisingly, there has been talk of remaking this film. Scorsese, Mike Nichols, and Chris Rock (!) have expressed interest in taking it on, but if you haven’t seen it, don’t wait for that to happen. Folks with aversions to old black and white subtitled films should get over it and queue this one up (or purchase the fancy Criterion Collection edition). It’s another in a long line of classic Kurosawa keepers.

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CELESTE & JESSE: Our latest anti-rom com couple

CELESTE & JESSE FOEVER (Dir. Lee Toland Krieger, 2012)

Looks like another anti-rom com to me. Here we have Parks and Recreation’s Rashida Jones and SNL’s Andy Samberg as a Los Angeles couple who are getting a divorce, yet they are still inseparable. This greatly annoys their friends, Ari Graynor and Eric Christian Olsen, who are engaged, we learn at an opening restaurant dinner scene, in which Jones and Samberg do silly German accents, and giggle to each other.

We get the picture shortly afterwards that Jones is the responsible successful career woman, and Samberg is the underachieving artsy man-child, who would fit right in to a Judd Apatow movie. Samberg wants to reconcile, and that doesn’t seem so unlikely, as Jones is obviously hesitant to move on, but things get complicated when Samberg finds out that a woman he had a fling with (Rebecca Dayan) is pregnant.

Sounds like a rom com set-up, right? But hold on, the smart screenplay, co-written by Jones and Will McCormack (who also appears in the film as a pot dealer named Skillz), has better a more realistic sense to it. Adding to that is Lee Toland Krieger’s swift direction which gives it a slices-of-life feel.

The film is told from Jones’ point of view, and it’s an appealingly self-deprecating point of view. Her exchanges with a possible new suitor (Chris Messina - no stranger to anti-rom coms as he was just in RUBY SPARKS), refreshingly display that these are layered characters, not caricatures. So much so that when Messina asks Jones “You wanna be right, or you wanna be happy?” it doesn’t come off as a contrived line - it feels as natural and believable as just about everything else on screen.

Maybe there are some superfluous elements, such as Elijah Wood as a co-worker of Jones who seems to know he’s only there to be a saucy gay friend (especially since he says “Sorry, I was trying to be your saucy gay friend”), and Emma Roberts as a snotty pop star client Jones has to deal with, but they don’t get in the way of the emotional pull at all.

With the right balance of laughs and touching moments, CELESTE & JESSE FOREVER is an effective movie mediation on how difficult it can be to move on.

It’s also time well spent with a couple of up and coming talents. It’s nice to see that Samberg can dial back the excessive wackiness (don’t get me wrong – I love him on SNL and HOT ROD is actually a very funny film), and show off some dramatic chops, and Jones gets a choice chance to carry a movie in her first leading role (her smart parts in THE SOCIAL NETWORK and THE MUPPETS barely hinted at her range).

I believe that BRIDESMAIDS started a trend in re-thinking the tired rom com formulas, (though that was a pretty outlandish and fairly non-realistic take on the genre) and films like this are going to be more and more welcome. Like last spring’s FRIENDS WITH KIDS, this is a enjoyable addition to the anti-rom com community.

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