New Releases On Blu Ray & DVD: 9/3/13

Louis Leterrier’s star studded comic thriller NOW YOU SEE ME, which was something of a surprise hit early in the summer, heads the pack of new releases on Blu ray and DVD today. Jesse Eisenberg, Mark Ruffalo, Woody Harrelson, Isla Fisher, Dave Franco, Morgan Freeman, and Michael Caine star in this piece of passable entertainment about a group of magicians who pull off international heists that often reward their audiences with riches while pissing off the police. Its tag line “The closer you look, the less you'll see” is a rare example of truth in advertising.

The 2-disc Blu ray set features an extended cut of the film along with the theatrical version, with Special Features including a commentary with Producer Bobby Cohen and Director Lettelier (on the theatrical version Only), a few featurettes (“Now You See Me Revealed,” “A Brief History of Magic”), deleted scenes, and two trailers (teaser and theatrical).

Ariel Vromen’s THE ICEMAN, featuring an intense performance by Michael Shannon as Mafia hitman Richard Kuklinski (read my review), releases this week in single disc Blu ray and DVD editions. There are only two short featurettes included as Special Features – “making of” and “behind the scenes” segments – but they’re better than nothing.

One of the best documentaries of the year, Sarah Polley’s STORIES WE TELL, her investigation into her complicated family ties, also drops today but only on DVD, and with no Special Features. That doesn’t make the film any less essential viewing.

Other notable feature films debuting on home video today: Rob Zombie’s THE LORDS OF SALEM, Dante Ariola’s Colin Firth/Emily Blunt comedy ARTHUR NEWMAN, Gorō Miyazaki’s 2011 animated hit FROM UP ON POPPY HILL, Craig Sisk’s THE ENGLISH TEACHER (starring Julianne Moore), Pablo Berger’s Spanish black-and-white silent fantasy film BLANCANIEVES, Matthias Hoene’s British thriller comedy COCKNEYS VS. ZOMBIES, and this last summer’s Syfy Channel sensation SHARKNADO.

On the older films new to Blu ray front, Alfred Hitchcock’s 1964 psychological thriller MARNIE, starring Sean Connery and Tippi Hedren, previously available only as part of a Hitchcock box set, gets its own individual release on the popular new format. It’s joined by Mario Bava’s A BAY OF BLOOD (1971), Michael Gornick's CREEPSHOW 2, and Richard Rush's 1967 Jack Nicholson vehicle HELL’S ANGELS ON WHEELS.

TV season sets out today include Person of Interest: Season Two, Spartacus: War of the Damned - The Complete Third Season, The Vampire Diaries: The Complete Fourth Season, Scandal: The Complete Second Season, Criminal Minds: The Eighth Season, The Office: Season Nine, Parks and Recreation: Season Five, and It's Always Sunny in Philadelphia: The Complete Season 8.

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Ariel Vroman's Dark Thriller THE ICEMAN Now Out On Blu Ray & DVD

Out today on Blu ray and DVD:



THE ICEMAN (Dir. Ariel Vroman, 2012) *

Film Babble Blog favorite, Michael Shannon was seen by millions stepping into shoes once worn by Terrence Stamp for the role of the iconic villain General Zod in Zack Snyder’s Superman reboot MAN OF STEEL this last summer.



But late last spring, movie-goers got a thorough sampling of Shannon’s skills as a very different sort of bad guy in Ariel Vroman’s true story crime thriller THE ICEMAN, now out on Blu ray and DVD.



Shannon portrays New Jersey-based mafia contract killer Richard Kuklinski, who the film’s post script tells was believed to have killed over 100 people. Kulinski was called “The Iceman” because he’d often freeze the bodies of his victims so that cops would have difficulty determining the time of death (so no, it’s not like “The Ice Truck Killer” on Dexter), and because of the man’s cold as ice demeanor.



It’s a demeanor that Shannon really nails with stoic precision, and with enough charisma to woo Winona Ryder as the woman who married the murderer and had two daughters with him, without knowing how he was bringing home the bacon.



Shannon goes from working in the sketchy pornography business (he tells Ryder he’s dubbing Disney cartoons), to doing hits full time, while his family thinks he’s a currency trader.



For his third full-length film as director, Vroman has made a gritty shadowy movie that has traces of ‘70s Scorsese in its DNA, along with the grimy aura of latter day reality based true crime sagas as John McNaughton’s HENRY: PORTRAIT OF A SERIAL KILLER (1990) and Jonathan Hensleigh’s KILL THE IRISHMAN (2011). There are many moments that this film mostly set in the ‘70s, looks like it was actually shot in that era with its grainy textures and authentic looking lighting.



Ray Liotta, still working on perfecting his Henry Hill scowl from Scorsese’s 1990 gangster classic GOODFELLAS adds to the dark décor as a Gambino family crew boss Roy DeMeo (one of the few real names used in the film) who’s constantly breathing down Shannon’s neck, while Chris Evans effectively brings the sleaze as a fellow hitman, Robert ‘Mr. Freezy’ Pronge, who drives the ice cream truck the killers make morbid use of.

Shannon bounces around the streets of New York doing hits, visiting his jailbird brother (Stephen Dorff), and doting on his wife and kids, though in one wild instance of road rage, his temper gets the best of him, and he scares his family half to death chasing down some schlub who made the mistake to yell profanities at our cold-blooded killer after a mild automobile accident.



There is some strained pacing, and like so often the Carter-era fashions and facial hair looks way fake (as has from ANCHORMAN to ARGO), but these factors I can forgive.

THE ICEMAN, follows a familiar dark biopic path, but Michael Shannon’s power and intensity is well captured as this unredeemable soul who can’t help but be anything but a son of Satan, its cast which includes a cameo by James Franco, and an unrecognizable David Schwimmer (it’s true - I didn’t know it was him until the end credits) is beautifully chosen, and it’s the best acting I’ve seen by Ryder in ages.

So before you get bombarded by the big ass Superman reboot hoopla, consider taking in this more subtle piece of Shannon’s work. With this and his superb turn in Jeff Nichols' TAKE SHELTER (Shannon also appears in Nichol's MUD still in theatrical release), the man has well proven he can carry and be the core of a very fine film. Here’s hoping the films will get finer.



* This review originally appeared in the May 30th, 2013 edition of the Raleigh News & Observer. It has been slightly written to reflect its release on home video.

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Upcoming Blockbuster Wannabes (With Trailers!)

I went to see THE GREAT GATSBY 3D, which wasn’t that great, last weekend and like usual when I go to the multiplex I get exhausted before the main attraction even starts because of the bombastic noisy trailers for upcoming blockbuster wannabes. 

At least the theater, the Raleigh Grande, didn’t pile too many on like some others do. The bombast started with SUPERMAN RESTARTS, sorry, MAN OF STEEL, the new Superman reboot starring Henry Cavill and directed by Zack Snyder (300, WATCHMEN, SUCKER PUNCH) coming out on June 14th.

The epic trailer looked incredibly promising, albeit Christopher Nolan-ized (Nolan executive-produced), and I like the idea of Russell Crowe as Superman’s biological father Jor El from Krypton, Kevin Costner as his Earth father, and especially Michael Shannon as General Zod. Here’s hoping that it at least strikes a more successful chord than Bryan Singer’s SUPERMAN RETURNS. Check out the trailer:

The following trailer, for THOR: INTO DARKNESS, sorry, THOR: THE DARK WORLD, due out November 8th, really suffered by comparison to the MAN OF STEEL one. 

Alan Taylor takes over on directing duties from Kenneth Branagh for the sequel to the 2011 Marvel Universe entry, in which Chris Hemsworth reprises his role as the Asgardian warrior for the third time (the second was in last year’s smash THE AVENGERS). Natalie Portman also returns in this CGI-saturated super hero flick that has Thor battling…uh, I’m not sure. Actually I couldn’t get a sense of the plot, except that Portman goes to Thor’s dimension or whatever you call it, from the roughly 2 minute trailer, which you can see below, but looks like there’s lots of action and stylized violence just like you’d expect. 

Lastly, one of the most anticipated movies of the summer, Marc Forster’s WORLD WAR Z, based on the book by Mel Brooks’ son Max Brooks, was advertised in a trailer also filled with quick cuts of thunderous action. Brad Pitt stars in the film (the trailer doesn’t make his occupation clear, but it's some kind of government job) that consists of swarming zombies (they move much much quicker than in The Walking Dead) overtaking the earth. The film has a budget of over $200 million and from the looks of this preview, it looks like it’s all up on the screen. Check it out the trailer for WORLD WAR Z, opening the week after MAN OF STEEL on June 21st in IMAX 3D and plain ole 2D:

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PREMIUM RUSH: As Silly As It Is Thrilling

PREMIUM RUSH (Dir. David Koepp, 2012)

We first meet Joseph Gordon-Levitt in mid-air as he falls in slow motion off his bicycle to the opening synth progression of The Who’s “Baba O’Riley” in the first minute of this thriller.

We don’t learn how this accident came about until later in the movie, because this is one of those fractured narratives that backs up in time, moves forward, then back again, sometimes through the same scenes, but from other perspectives, with an onscreen clock popping up to let us know where we’re at.

It’s a gimmicky and self-consciously flashy approach, but it weaves as swiftly through the film as Gordon-Levitt does through the streets of Manhattan as a bike-messenger who just might have a death-wish, as his co-workers note.

You see, Gordon-Levitt, who dropped out from Columbia University's law school, doesn’t believe in brakes, and has fixed gears on his beat-up bike. His mind seems only set to quickly figure out the best route through traffic and pedestrians so we get to see his imagined scenarios for the disastrous routes he decides against, which is pretty neat. As are full screen shots of Gordon-Levitt’s GPS system, and CGI projections of the cityscape that show thick yellow lines representing his path.

Our hero’s dangerous job gets even more life threatening when he picks up an envelope that contains something that a corrupt cop (Michael Shannon) is after. This MacGuffin propels the big compelling cat and mouse game that is PREMIUM RUSH, an experience that’s engaging enough that one can ignore lame lines (Shannon actually yells: “Aw, come on! Give it to me!”), and a few overly contrived set-pieces.

None of that gets in the way of the fun. There’s spirited energy in the stunt-work (Gordon-Levitt did some of his own stunts - one of which led to a bust-up with a taxi), the sharp cinematography of the streets (shot by Mitchell Amundsen), and the largely likable casting, including Dania Ramirez as Gordon-Levitt’s tough girlfriend, Wolé Parks as his rival who's trying to woo Ramirez, The Daily Show’s Aasif Mandvi as a wise-cracking dispatch, and Jamie Chung as a scared young Chinese woman who’s wrapped up with whatever’s in that mysterious envelope.

Gordon-Levitt carries the movie with confidence, but in Shannon as the villain we just might have the best comic performance of the summer. I’m serious - his turn as the twisted sociopathic gambling-addicted cop chasing Gordon-Levitt is hilarious with his squeaky maniacal laugh, and cranky complaints about his pained predicaments. Shannon’s funnier than either Will Ferrell or Zach Galifianakis in THE CAMPAIGN, or nearly any other character in a recent comedy that I can think of. He obviously had a blast playing the part, and it's a blast to watch him steal every scene he's in.

The as-silly-as-it-is-thrilling PREMIUM RUSH isn’t premium entertainment, but it’s a good fast-paced piece of escapism for the late summer. When it cuts to a video clip of Gordon-Levitt taken right after he really smashed into the back window of a taxi during the end credits, you can see that even in injury they were laughing about it and having a great time. For a considerable amount of its 91-minute running time, I was too.

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Michael Shannon Needs Shelter From The Storm

TAKE SHELTER

(Dir. Jeff Nichols, 2011)

Ever since Michael Shannon stole REVOLUTIONARY ROAD out from under Leo DeCaprio and Kate Winslet a few years back, I've been waiting for the man to carry a movie as the lead. Here, he gets to do just that as a man tortured by apocalyptic visions.



Shannon plays a blue collar father in a small town in Ohio - so small that everybody knows each other - who continually sees ominous clouds, strange formations of frightened birds, and rain that looks like orange soda when it pours into his palm.



Nobody else sees this scary stuff so his wife (Jessica Chastain), best friend/co-worker (Shannon's Boardwalk Empire co-star Shea Whigham), and everybody else think Shannon is going crazy.



Shannon thinks he may be going insane too, as there is a history of mental illness in his family - Kathy Baker has a brief bit as his mother suffers from dementia.



Still, his awareness of his possibly delusionary state doesn't stop his from building a bomb shelter in his backyard.



There have been many stories about protagonists who may be crazy, or they may be on to something (that saying about paranoiacs being the people that know what's really going on comes to mind) - it's Twilight Zone 101.



I wish I could say that TAKE SHELTER brings something new to the table, but it doesn't. It's far from fully fleshed out, there's one too many fake-out nightmare scenes, and I don't think I took away what they wanted me to take away from the ending. I say I don't think so, because I really don't know what director Nichols (who also scripted the film) wanted folks to take away from it.



Chastain doesn't really have much to do as Shannon's wife except look worried - a part that resembles her role in THE TREE OF LIFE - but she brings a believable presence regardless.



It's Shannon's show though, and he owns the movie indeed. It's Oscar worthy work that's pretty much the sole reason to see this movie. His brow has never looked as furrowed before than in this excellent portrayal as a honest working man plagued by fear.



It's a performance that will stay with you for days.



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A Smattering Of New Blu Ray & DVD Reviews

THE RUNAWAYS (Dir. Floria Sigismondi, 2010)

"Jail-fuckin'-bait! Jack-fuckin'-pot!!" - Kim Fowley as played by Michael Shannon. Not exactly. When this film came out last spring it cherry bombed at the box office. This absolutely by-the-numbers music biopic only comes alive when Michael Shannon is onscreen. 

As infamous record producer Kim Fowley, Shannon steals the film away from Kristen Stewart who does a convincing Joan Jett and an all angsty Dakota Fanning as Cherie Currie. Despite the title Stewart and Fanning are the only members of the legendary '70s all girl punk band that the film chooses to focus on - you can count the lines Scout Taylor-Compton as Lita Ford has on one hand and Alia Shawkat (Arrested Development) as Robin the bassist barely registers. Ditto Stella Maeve as drummer Sandy West. 

West died in 2006, but you wouldn't know that from the film's ending wrap up of only Jett, Currie, and Fowley's fates. Still it's fast paced and filled with a lot of great music. In the mix of the Runaways greatest hits you get David Bowie, Iggy Pop, Sex Pistols, and weirdly Don McLean blaring throughout the movie. It will most likely be remembered for being the movie that Kristen Stewart and Dakota Fanning made out in, but if that's what your looking for, those scenes are blurry in a manner mistaken for artsy, and there's little emotional conviction to make anyone care. 

Overall THE RUNAWAYS resembles the VH1 produced rock biopics that dramatized Behind The Music episodes and rerun constantly on VH1 Classic. That undoubtedly will be where this ends up.

ENTRE NOS (Dirs. Gloria La Morte & Paola Mendoza, 2009) 

This Spanish drama, produced and distributed by IndiePix Films, was one that didn't visit Triangle area theaters, but is now out on DVD and available for streaming on Netflix Instant. Paola Mendoza plays a Colombian immigrant who in the opening scenes is left by her husband (Andres Munar) to fend for herself and her 2 children in New York City.

All she seems to have going for her is that she can make great empanadas, but she can't seem to sell those on the street corners so she takes up aluminum can recycling. It's a tale of struggle and hardhip loosely based on a true story that has several incredibly moving scenes. The strength of Mendoza's performance creates much empathy for the severe situations she faces. Sebastian Villada Lopez and Laura Montana Cortez as Mendoza's children also register highly. Though some of the suffering may discomfort some folks, this is definitely worth a rental.

MOTHER (Dir. Bong Joon-ho, 2009) This gritty yet crisp looking thriller from South Korean writer/director Joon-ho only came as close as Cary to the Galaxy theater last spring. When she believes that her slow daft son (Won Bin) is innocent of a murder he's accused of, Kim Hye-ja investigates the crime on her own.

The murder is of a school girl (Moon Hee-ra) who as the rumors say was very promiscuous and has a cell phone full of pictures of possible suspects. Hye-ja fiercely fights through the elements and, of course, gets more trouble than she bargained for. “Mother” is immensely entertaining with true feeling for its characters, particularly the admirable lead. It also looks beautiful on Blu ray.

PRODIGAL SONS (Dir. Kimberly Reed, 2010) Another film that didn't play in the Triangle - a documentary about and by transsexual film maker Kimberly Reed (formerly Paul Reed) who returns home to Montana to face family and friends. Adopted brother Marc, who has brain damage from a car accident, is a big obstacle as he's never accepted his sibling's sex change.

"I just wanted us to be able to move on, but before I knew it, we ended up exactly like we used to be." Reed says on her more than abundant narration. For the first 20 minutes or so it feels like a typical fish out of water/culture clash but when Marc finds out that his grand parents are none other than Orson Welles and Rita Hayworth things get considerably more interesting.

The take away amounts to more than that as we see Kimberly deal head on with his/her past rerunning old football footage and facing old photographs. Marc meanwhile has some scary outbursts which results in jail time. Film of Welles, mostly from his last film F FOR FAKE decorates the second half of the film in morbid tribute. A worthwhile yet disconcerting doc - PRODIGAL SONS is available on DVD and streaming from Netflix Instant.

A TOWN CALLED PANIC (Dirs. Stéphane Aubier & Vincent Patar) This French stop motion animation movie only played for a week at the Colony Theater in North Raleigh last spring which is a shame because it’s a fun absurd romp that deserves bigger audiences. Little plastic figurines, simply named for what they are – “Cowboy”, “Indian”, and “Horse” are the protagonists of this beyond silly plot involving 50 million bricks, thieving blue pointy headed fish folks, and a gigantic penguin robot.

As ridiculous animated features go it's way better than DESPICABLE ME.

PANIC has more than enough laughs and ideas in it to be worth and hour and 15 minutes of your time so see what too many people missed last spring theatrically as its now on DVD and also available streaming on Netflix Instant.

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