New Releases On Blu Ray & DVD: 8/13/13

 

 

Antoine Fuqua’s action thriller OLYMPUS HAS FALLEN heads the batch of new releases today on a 2-disc Blu ray/DVD Combo edition (includes UltraViolet Digital Copy), and a single disc DVD version. The movie, starring Gerard Butler, Morgan Freeman, and Aaron Eckhart is as standard issue as the floating heads poster art on the packaging (as you can read in my review from last March), but there’s tons of Special Features anyway.

They include a couple of minutes of Bloopers, and several featurettes (“The Epic Ensemble,” “Under Surveillance,” “Deconstructing the Black Hawk Sequence,” “Ground Combat: Fighting the Terrorists,” and “Creating the Action: VFX and Design”) equaling roughly a half hour. After the nearly identical WHITE HOUSE DOWN, which I actually preferred, flopped earlier this summer, don’t expect be any more DIE HARD at the White House movies anytime soon.

 

A movie I missed, as did most folks did, when it was in theaters last April, Jason Zackham’s THE BIG WEDDING, also drops today on Blu ray and DVD, both in single disc editions. The poorly reviewed comedy stars Robert De Niro, Diane Keaton, Susan Sarandon, Robin Williams, and, here’s the kicker: Katherine Heigl. Only one Special Feature on this clinker: a 16-minute featurette entitled “Coordinating THE BIG WEDDING.”

A film that fared much better is also available today: Scott McGehee and David Siegel’s modern day adaptation of Henry James’ 1897 novel WHAT MAISIE KNEW, out now in 2-disc Blu ray and 1-disc DVD editions.



Julianne Moore, Steve Coogan, Alexander Skarsgård, Joanna Vanderham, and the 6-year old Onata Aprile star in the well done divorce drama that I wrote wasn’t just KRAMER VS. KRAMER from the kid’s point of view in my review during its theatrical run in Raleigh last May. Special Features: a director’s commentary with McGhee and Siegel and a little over 7 minutes of deleted scenes.

 

I wasn’t alone in being unimpressed by Peter Webber’s post-World War II drama EMPEROR, starring Matthew Fox and Tommy Lee Jones as General McArthur, as most critics hated it and audiences stayed away in droves, but here it is in spiffy single disc Blu ray and DVD editions with a bevy of bonus features anyway. Special Features: Commentary with Director Webber and Producer Yoko Narahashi, a 15-minute featurette “Revenge or Justice: The Making of Emperor,” deleted scenes, Behind the Scenes Photo Gallery, Historical Photo Gallery, and the theatrical trailer. So, if there are actually any EMPEROR fans out there, well, they should be pleased.

 

Robert Redford’s preachy political thriller THE COMPANY YOU KEEP, another bland offering out today on home video, also gets the single disc Blu ray (Blu-ray + Digital Copy + UltraViolet) and DVD treatment. The film which I called a “star studded dud” in my April review, comes packaged with 4 featurettes: “Behind the Scenes: The Movement,” “Behind the Scenes: The Script, Preparation and The Cast,” “On The Red Carpet” (from the New York premiere), and “Press Conference,” with Robert Redford, Stanley Tucci, Brit Marling and Jackie Evancho. Man, that bonus material sounds almost as thrilling as the film itself! I kid.

In my book, or more accurately on my blog, the best older title new to Blu ray this week is James Frawley’s 1979 family friendly classic THE MUPPET MOVIE in what’s billed as “The Nearly 35th Anniversary Edition.” Extras include such featurettes as “Director Jim Frawley’s Extended Camera Test,” “Pepe Profiles Present Kermit: A Frog's Life,” ‘Doc Hopper’s Commercial” (long live Charles Durning!), original trailers, and something called “Frog-E-Oke Sing-Along,” in which viewers can sing along to a few of the soundtrack classics (“Rainbow Connection,” “Movin’ Right Along,” and “Can You Picture That”) with the help of dynamic text.

Another great retro release of a movie making its debut on Blu ray this week is the Criterion Collection edition of John Frankenheimer’s 1966 thriller SECONDS, starring Rock Hudson, one of my all time favorite conspiracy movies. 

Special Features: the 15-minute video interview “Alec Baldwin on SECONDS,” a mini-documentary “A Second Look,” “Palmer and Pomerance on SECONDS” (a new visual essay by film scholars R. Barton Palmer and Murray Pomerance), Archival Footage, a short video interview with Director Frankenheimer, “Hollywood on the Hudson” (a rare WNBC news special shot on location in Scarsdale, New York, during the filming of SECONDS in 1965), commentary with director John Frankenheimer from 1997, and an illustrated collector’s booklet featuring an essay by critic David Sterritt.

TV series sets available this week include Girls: The Complete Second Season, Once Upon a Time: The Complete Second Season, Enlightened: The Complete Second Season, The Mindy Project: Season One, and Southland: The Complete Fifth and Final Season.

More later…

Current Indie Films Offer Big Stars Without The Blockbuster Bombast

You don’t have to wait for the summer super hero sequel season (kicking off this Friday with IRON MAN 3) to see big name stars for a bunch of them are currently starring in indie films at your local art house. 

For instance, Derek Cianfrance’s (BLUE VALENTINE) highly touted crime drama THE PLACE BEYOND THE PINES, now in its 3rd week in the Triangle area, boasts star turns by Ryan Gosling and Bradley Cooper. 

The film tells a story set in the town of Schenectady, New York, that spans 3 character threads. Gosling’s scenario involves the bleach blonde pretty boy turning to a life of crime (robbing banks with the help of his circus-honed motorcycling skills) in order to support the year old baby that former flame Eva Mendes just told him he is the father of.

One of Gosling’s robberies is foiled by Cooper as a young law student turned cop and then his scenario begins. Cooper takes advantage of his hero status to further his career, realizing the system’s just too damn corrupt (mostly in the form of a slimy, us usual, Ray Liotta - could Liotta ever play a cop that’s not corrupt?).

The third act has Cooper’s kid (Emory Cohen) growing up to be a troubled teenager who befriends a fellow student, Dane Dehan, who turns out to be Gosling’s kid. Gosling’s and Cooper’s acts crackle with energy, but the final act lost me. It felt like it could have been incorporated into the second story-line or at least not be so drawn out. Perhaps it simply lacked the star power of the first two thirds. Whatever the case, the film has just enough storytelling drive to make it worthwhile.

Nobody could accuse Robert Redford’s new political drama THE COMPANY YOU KEEP, which opened last Friday in Raleigh, of lacking star power. Apart from Redford’s lead role, there’s Shia Labeouf, Susan Sarandon, Nick Nolte, Chris Cooper, Julie Christie, Richard Jenkins, Stephen Root, and indie darling Brit Marling. Sadly though, all this talent can’t save the film from Redford’s tired soapboxing as you can read in my review “Redford’s Vanity Project THE COMPANY YOU KEEP Is A Star-Studded Dud” (4/26/13).

Much better is Jeff Nichols’ MUD, with Matthew McConaughey in the title role, also in its first week in the Triangle. 

McConaughey, a little less confident than usual yet still somewhat slick,  plays an outlaw on the lam, living on an island in the middle of Arkansas' Lower White River, who is discovered by a couple of kids (Tye Sheridan and Jacob Lofland). The kids help the fugitive get a boat down out of a tree (“that’s a hell of thing” McConaughey keeps saying about the boat’s predicament) and back in commission so he can escape with the love of his life, a redneck floozy played by Reese Witherspoon (the role couldn’t be more timely with her recent brush with the law and all). 

There a few glaring narrative conveniences - the kids seem to happen upon Witherspoon too easily, and later come to her hotel room at just the right time when she’s being roughed by a thug played by Stuart Greer for a few examples - but they could reasonably be chalked up to small town coincidences I reckon.

MUD is a mostly engrossing Southern drama driven by its superb cast, including Sam Shepherd, Nichols’ TAKE SHELTER star Michael Shannon, Joe Don Baker, Sarah Paulson, and Ray McKinnon, and its thoughtful screenplay by Nichols. 



But in a cast of recognizable faces, the 15 year old newcomer Sheridan, who could be considered the film’s true protagonist, stands out. Nichols’ has given the kid thematic weight in the form of a belief in love - a belief in danger of being squashed by a crush on an older girl (Bonnie Sturdivant) and the fact that his mother (Paulson) is divorcing his father (McKinnon) - but Sheridan carries it with poise.

So, if you’re looking for alternatives to the coming tidal wave of CGI-saturated blockbuster-wannabes on the big screen, THE PLACE BEYOND THE PINES and MUD will provide the stars without the bombast. 

More later...

Redford’s Vanity Project THE COMPANY YOU KEEP Is A Star-studded Dud

Opening today in Raleigh at the Colony Theater and the Raleigh Grande:

THE COMPANY YOU KEEP 

(Dir. Robert Redford, 2013)

Robert Redford’s ninth film as director, and 39th as actor, is polished and moves along briskly, but its tired political themes and its preachiness exposes what it really is: a vanity project. 

Redford’s character, a widowed public interest lawyer living comfortably in Albany, New York, was once part of the Weather Underground, a radical organization formed in the late ‘60s with the intent to overthrow the U.S. Government. Redford changed his identity in the late ‘70s as he is wanted by the F.B.I. for his alleged involvement in a Michigan bank robbery back then which resulted in the murder of a security guard.

The cast is full of famous faces who have gone into hiding like Redford, including Susan Sarandon, Nick Nolte, Julie Christie, Richard Jenkins, and Stephen Root. Intrepid scruffy Albany Sun Times reporter Shia Labeouf makes the connections between them that lead to Redford being exposed as a former antiwar radical and the chase is on.

Redford was ready for this with a stash of fake I.D.s, cash and a baseball cap as part of an ingenious disguise when in public, as well as custody papers for his brother (Chris Cooper) so that he can take care of Redford’s daughter (Jackie Evancho). This gives Redford the chance to restage scenes from THE FUGITVE with him cleverly eluding the authorities at every turn.

Labeouf, who, of course, has to answer to a hard-assed editor (Stanley Tucci), theorizes that Redford is on the run, not just to escape the F.B.I. led by another hard-ass, Terrance Howard, but to somehow clear his name.

The tone is even more self-important and self-righteous than Redford’s last film, the pretentious LIONS FOR LAMBS. Here, instead of Andrew Garfield, Labeouf symbolizes the young generation who Redford can lecture to. The gist being that the children of the ‘60s took it to the streets to protest the government’s involvement in Vietnam, while you kids are more concerned with updating your Facebook profiles as Jenkins, a former radical now a college professor, puts it in a laughable attempt at a meaningful line.

While interviewing Brendan Gleeson as the cop that originally investigated the robbery, Labeouf conveniently comes across indie film darling Brit Marling as Gleeson’s adopted daughter. While flirting with her he figures out her connection to Redford, and while I won’t spoil what it is, I’ll tell you that it’s no exciting revelation.

But then nothing is in this star-studded dud that’s only really about Redford fighting to still be relevant. The man has made some excellent films, among them ORDINARY PEOPLE and QUIZ SHOW, but here he’s treading water while he shakes his head at younger generations for dropping the ball.

I’m not sure what he wants us to do. Go hold up a protest sign on the corner? Join whatever is today’s equivalent to the Weather Underground? What?

When his noble character re-unites with his old flame Julie Christie whose help he needs in a nicely-lit cabin and they discuss old times there is a semblance of dramatic weight, but the phoniness of the dialogue and the predictability of the situation bog it way down. That pretty much sums up every scene come to think of it.

Throughout the film, we see Redford’s porn-stached mugshot from the ‘70s (actually a re-purposed still from ELECTRIC HORSEMAN it looks like to me) as if to remind us that not only was he hot back then, he was a man of major conviction. But then, he always is in every movie he’s made.

Here, our Uncle Redford has made a disappointing film about how disappointed he is in us. Too bad his incredible cast and impeccable narrative skills (I will concede that it’s not boring), can’t elevate it to be anything more than that.

More later...