“Tron: Legacy” 3D

DVD, Blu-ray Movie Review

Directed by Joseph Kosinski, written by Edward Kitsis and Adam Horowitz, 127 minutes, rated PG.

By our guest blogger, Joel Crabtree

Editor's Note:  The 3D version we were sent three times by our helpful distributor had significant issues with it.  While the movie looked beautiful when it worked, too often it seemed to "catch" between transitions and made for an experience that was less than the movie deserved.  We are unsure whether this is a widespread issue, though the equipment we used is just over one month old and all firmware was updated.

In 1982, Disney released “Tron,” a visually groundbreaking risk that didn’t pay off at the box office, but has lingered around for nearly 30 years as a cult classic among a particular brand of nerd. Somewhere, somehow, someone at the studio decided it was time for a “Tron” sequel. Thus, “Tron: Legacy” was born. All I have to ask is this--what took you guys so long?

On the verge of a major breakthrough in The Grid, Kevin Flynn (Jeff Bridges), the head of Encom, goes missing, thus tarnishing his business reputation and leaving behind a son, Sam (Garrett Hedlund, finding his footing as a leading man), who has inherited his father’s rebellious nature -- and his share of the company.

A mysterious page (yes, a page) from Flynn’s abandoned arcade office sends Sam on a quest to find his father. After being sucked into the grid, he discovers a totalitarian cyber world ruled by the iron fist of Clu (also Jeff Bridges), who is a program with the likeness of Kevin Flynn that was assigned to create “the perfect system.”

Only, it isn't perfect.

Sam is forced into a gauntlet of dangerous games, only to be rescued by Quorra (Olivia Wilde), who whisks the young Flynn away safely off The Grid, where his father has been hiding out for years. And he’s changed. No longer the hotshot, risk-taking programmer, Flynn is a tranquil god among programs.

Sam’s impulsive behavior clashes with his father’s passiveness when Sam leaves the safe house to put an end to Clu from outside The Grid, leaving Quorra and Kevin with no option but to follow.

“Legacy” more directly addresses the idea of man playing God with technology than its predecessor, and it even presents some pretty serious religious symbolism (Flynn, a creator, and his son, a saviorlike figure). It’s all a bit heavy-handed, but it’s kept dormant under the pounding Daft Punk score (awesome) and neon-infused action scenes. As breathtaking and as enjoyable as the action is, it comes at the sacrifice of many unexplored story arcs and ideas in the “Tron” universe.

The film does find time to delve into the duality of Kevin Flynn and his out-of-control alter ego Clu, with Bridges having a lot of fun portraying both the tyrant and the aging zen master. His performance lends “Legacy” some clout, but it’s topped by Michael Sheen’s brief turn as Zuse, a frosty-haired David Bowie-inspired program whose fanciful dance moves are almost straight out of a cartoon.

Everything in the movie, however, takes a back seat to the effects. Like the original movie, “Tron: Legacy” was made to push the boundaries of technology in cinema. It succeeds. The film is a special effects spectacle to behold, and it's deserving of Academy Award nominations in art direction, costume design and visual effects.

As with any movie that's so dependent on state-of-the-art technology, you have to wonder how it will hold up over time. Maybe we’ll find out in, say, 28 years? But for 2010?  "Tron: Legacy" is quite an achievement.

Grade: B

View WeekinRewind.com's video preview of the movie below.

“Tron: Legacy” 3D

DVD, Blu-ray Movie Review

Directed by Joseph Kosinski, written by Edward Kitsis and Adam Horowitz, 127 minutes, rated PG.

By our guest blogger, Joel Crabtree

Editor's Note:  The 3D version we were sent three times by our helpful distributor had significant issues with it.  While the movie looked beautiful when it worked, too often it seemed to "catch" between transitions and made for an experience that was less than the movie deserved.  We are unsure whether this is a widespread issue, though the equipment we used is just over one month old and all firmware was updated.

In 1982, Disney released “Tron,” a visually groundbreaking risk that didn’t pay off at the box office, but has lingered around for nearly 30 years as a cult classic among a particular brand of nerd. Somewhere, somehow, someone at the studio decided it was time for a “Tron” sequel. Thus, “Tron: Legacy” was born. All I have to ask is this--what took you guys so long?

On the verge of a major breakthrough in The Grid, Kevin Flynn (Jeff Bridges), the head of Encom, goes missing, thus tarnishing his business reputation and leaving behind a son, Sam (Garrett Hedlund, finding his footing as a leading man), who has inherited his father’s rebellious nature -- and his share of the company.

A mysterious page (yes, a page) from Flynn’s abandoned arcade office sends Sam on a quest to find his father. After being sucked into the grid, he discovers a totalitarian cyber world ruled by the iron fist of Clu (also Jeff Bridges), who is a program with the likeness of Kevin Flynn that was assigned to create “the perfect system.”

Only, it isn't perfect.

Sam is forced into a gauntlet of dangerous games, only to be rescued by Quorra (Olivia Wilde), who whisks the young Flynn away safely off The Grid, where his father has been hiding out for years. And he’s changed. No longer the hotshot, risk-taking programmer, Flynn is a tranquil god among programs.

Sam’s impulsive behavior clashes with his father’s passiveness when Sam leaves the safe house to put an end to Clu from outside The Grid, leaving Quorra and Kevin with no option but to follow.

“Legacy” more directly addresses the idea of man playing God with technology than its predecessor, and it even presents some pretty serious religious symbolism (Flynn, a creator, and his son, a saviorlike figure). It’s all a bit heavy-handed, but it’s kept dormant under the pounding Daft Punk score (awesome) and neon-infused action scenes. As breathtaking and as enjoyable as the action is, it comes at the sacrifice of many unexplored story arcs and ideas in the “Tron” universe.

The film does find time to delve into the duality of Kevin Flynn and his out-of-control alter ego Clu, with Bridges having a lot of fun portraying both the tyrant and the aging zen master. His performance lends “Legacy” some clout, but it’s topped by Michael Sheen’s brief turn as Zuse, a frosty-haired David Bowie-inspired program whose fanciful dance moves are almost straight out of a cartoon.

Everything in the movie, however, takes a back seat to the effects. Like the original movie, “Tron: Legacy” was made to push the boundaries of technology in cinema. It succeeds. The film is a special effects spectacle to behold, and it's deserving of Academy Award nominations in art direction, costume design and visual effects.

As with any movie that's so dependent on state-of-the-art technology, you have to wonder how it will hold up over time. Maybe we’ll find out in, say, 28 years? But for 2010?  "Tron: Legacy" is quite an achievement.

Grade: B

View WeekinRewind.com's video preview of the movie below.

"I Love You Philip Morris"

DVD, Blu-ray Movie Review

Directed by Glenn Ficarra and John Requa, Written Glenn Ficarra, John Requa, and Steve McVicker (book), 98 minutes, Rated R.

By our guest blogger, Matthew Schimkowitz

Glenn Ficarra and John Requa took a six-year break between the instant cult-classic "Bad Santa" and their long-delayed, perverse companion piece to "Catch Me If You Can," "I Love You Philip Morris." In that time, the filmmakers learned a thing or two about sleight of hand. "Morris" is a sly, deceptive comedy that frequent stays one step ahead of the viewer, keeping its darkest cards close to the chest. However, Ficarra and Requa ace isn't the violent, raunchy humor, it's how emotionally complex he portrays the romance of Philip Morris and con-man Steven Russell.

"I Love You Philip Morris" opens like an episode of "Ozzy and Harriet." Jim Carrey plays Steven Russell, all around, warm-blooded American family man, with a great wife (Leslie Mann) and a song in his heart. There's just one tiny detail: He's gay.

To keep his wife and good job, Russell hides his extra-martial interests, until a car accident awakens him from his suburban nightmare and tells him to move to Florida, where he can live the lavish life of middle-aged gay man--and, boy, does he ever.

After plowing through his savings, Russell takes a part time job as a con-man, forging checks and credit cards to pay for his extravagant habits. Eventually, his con and the police catch up with him, landing him in jail. It is here that he meets Philip Morris (Ewan McGregor), the love of his life.

The rest of the film features Russell moving in and out of jail to either be with or free Morris. Ficarra and Requa juxtapose their gentle romance with their trademark violent humor. Russell performs random acts of kindness by sending chocolate to Morris, in one scene, and has Morris’ maniacal cellmate ruthlessly beaten in another. Each gesture is just more romantic than the last.

The two aspects of Russo's personality (the con-man and the lover) are the two most important pieces to Ficarra and Requa's film. Carrey builds a strong, emotional bond with McGregor, uncommon in a comedy this dark. Ficarra and Requa use this emotion to distract us from the frequent surprises in store. They’ll just as soon capture an emotional embrace between the star-crossed lovers as a painful one between Russo and concrete. This keeps the film both emotionally engaging and hilariously violent.

"I Love You Philip Morris" remains so intriguing because of both surprises. Ficarra and Requa's filming style tricks the viewer, allowing the jokes to slap the viewer in the face. But rather than laugh at the viewer, they welcome them with the touching story of a con-man and an ex-con that's got a lot up its sleeve.

Grade: B+

"I Love You Philip Morris"

DVD, Blu-ray Movie Review

Directed by Glenn Ficarra and John Requa, Written Glenn Ficarra, John Requa, and Steve McVicker (book), 98 minutes, Rated R.

By our guest blogger, Matthew Schimkowitz

Glenn Ficarra and John Requa took a six-year break between the instant cult-classic "Bad Santa" and their long-delayed, perverse companion piece to "Catch Me If You Can," "I Love You Philip Morris." In that time, the filmmakers learned a thing or two about sleight of hand. "Morris" is a sly, deceptive comedy that frequent stays one step ahead of the viewer, keeping its darkest cards close to the chest. However, Ficarra and Requa ace isn't the violent, raunchy humor, it's how emotionally complex he portrays the romance of Philip Morris and con-man Steven Russell.

"I Love You Philip Morris" opens like an episode of "Ozzy and Harriet." Jim Carrey plays Steven Russell, all around, warm-blooded American family man, with a great wife (Leslie Mann) and a song in his heart. There's just one tiny detail: He's gay.

To keep his wife and good job, Russell hides his extra-martial interests, until a car accident awakens him from his suburban nightmare and tells him to move to Florida, where he can live the lavish life of middle-aged gay man--and, boy, does he ever.

After plowing through his savings, Russell takes a part time job as a con-man, forging checks and credit cards to pay for his extravagant habits. Eventually, his con and the police catch up with him, landing him in jail. It is here that he meets Philip Morris (Ewan McGregor), the love of his life.

The rest of the film features Russell moving in and out of jail to either be with or free Morris. Ficarra and Requa juxtapose their gentle romance with their trademark violent humor. Russell performs random acts of kindness by sending chocolate to Morris, in one scene, and has Morris’ maniacal cellmate ruthlessly beaten in another. Each gesture is just more romantic than the last.

The two aspects of Russo's personality (the con-man and the lover) are the two most important pieces to Ficarra and Requa's film. Carrey builds a strong, emotional bond with McGregor, uncommon in a comedy this dark. Ficarra and Requa use this emotion to distract us from the frequent surprises in store. They’ll just as soon capture an emotional embrace between the star-crossed lovers as a painful one between Russo and concrete. This keeps the film both emotionally engaging and hilariously violent.

"I Love You Philip Morris" remains so intriguing because of both surprises. Ficarra and Requa's filming style tricks the viewer, allowing the jokes to slap the viewer in the face. But rather than laugh at the viewer, they welcome them with the touching story of a con-man and an ex-con that's got a lot up its sleeve.

Grade: B+

"Country Strong"

DVD, Blu-Ray Review

Directed by Shana Feste, Written by Shana Feste, 117 minutes, Rated PG-13.

By our guest blogger, Matthew Schimkowitz

Like a bad reality show for the country music set, “Country Strong” plays out all the melodramas one would expect from a movie about alcoholic pop-stars. With its boot-stomping new-country soundtrack and incoherent storytelling, the film will only please on a musical level—and even that is regulated to fans of country music. From its cliché plot to the several false conclusions, each one more bizarre than the last, "Country Strong" is an overlong piece of fluff. It's certainly better than you'd expect with occasional spurts of enjoyment from its key players, but it isn’t enough to warrant its two-hour running time.

"Country Strong" portrays the "Behind the Music" dramatization of fictional country music superstar Kelly Canter, as realized by the far too-beautiful-and-healthy-to-be-a-drunk Gwyneth Paltrow. Since spiraling into rehab after a recent onstage fall and subsequent miscarriage, Kelly meets the unfortunately named orderly and musician Beau Hutton (Garrett Hedlund).

This doesn’t please her husband, James (Tim McGraw), who pressures her into leaving rehab and head out on the road. Kelly, impressed by the songs Beau serenaded her with in rehab, invites him to be her opening act, because, you know, that's how these things work, and James invites a younger version of Kelly, the equally unfortunately named Chiles Stanton (Leighton Meester). Things play out much as you'd expect: Kelly fools around with Beau, suspects her husband of fooling around with Chiles, and amidst her jealousy drinks and cries and drinks.

Feste’s script isn’t clear as to whom this story is about. Is the film about Kelly’s descent into pills and booze? Or is it about Beau’s rise to the top while trying to hang on to his integrity? The film is rarely clear on this front and, in trying to make room for both, loses the narrative. There are so many drag out fights and tears that the film can’t make heads or tails of who’s got it the hardest.

Occasionally, the cast does break through the script’s shortcomings in fleeting moments of enjoyment. Paltrow remains the most equipped to carry her scenes, but even she can’t look convincing while melodramatically reaching for the bottle. The rest serve as one note characters: James is stern, Beau is charming and Chiles is cute.

By all accounts, “Country Strong” is better that most will give it credit for. Sadly, it still gives way to melodrama more often than it should, making the gloomier moments appear unintentionally funny and the happier ones, unintentionally sad.

Grade: C

"Country Strong"

DVD, Blu-Ray Review

Directed by Shana Feste, Written by Shana Feste, 117 minutes, Rated PG-13.

By our guest blogger, Matthew Schimkowitz

Like a bad reality show for the country music set, “Country Strong” plays out all the melodramas one would expect from a movie about alcoholic pop-stars. With its boot-stomping new-country soundtrack and incoherent storytelling, the film will only please on a musical level—and even that is regulated to fans of country music. From its cliché plot to the several false conclusions, each one more bizarre than the last, "Country Strong" is an overlong piece of fluff. It's certainly better than you'd expect with occasional spurts of enjoyment from its key players, but it isn’t enough to warrant its two-hour running time.

"Country Strong" portrays the "Behind the Music" dramatization of fictional country music superstar Kelly Canter, as realized by the far too-beautiful-and-healthy-to-be-a-drunk Gwyneth Paltrow. Since spiraling into rehab after a recent onstage fall and subsequent miscarriage, Kelly meets the unfortunately named orderly and musician Beau Hutton (Garrett Hedlund).

This doesn’t please her husband, James (Tim McGraw), who pressures her into leaving rehab and head out on the road. Kelly, impressed by the songs Beau serenaded her with in rehab, invites him to be her opening act, because, you know, that's how these things work, and James invites a younger version of Kelly, the equally unfortunately named Chiles Stanton (Leighton Meester). Things play out much as you'd expect: Kelly fools around with Beau, suspects her husband of fooling around with Chiles, and amidst her jealousy drinks and cries and drinks.

Feste’s script isn’t clear as to whom this story is about. Is the film about Kelly’s descent into pills and booze? Or is it about Beau’s rise to the top while trying to hang on to his integrity? The film is rarely clear on this front and, in trying to make room for both, loses the narrative. There are so many drag out fights and tears that the film can’t make heads or tails of who’s got it the hardest.

Occasionally, the cast does break through the script’s shortcomings in fleeting moments of enjoyment. Paltrow remains the most equipped to carry her scenes, but even she can’t look convincing while melodramatically reaching for the bottle. The rest serve as one note characters: James is stern, Beau is charming and Chiles is cute.

By all accounts, “Country Strong” is better that most will give it credit for. Sadly, it still gives way to melodrama more often than it should, making the gloomier moments appear unintentionally funny and the happier ones, unintentionally sad.

Grade: C

“Tron”

DVD, Blu-Ray Review

Directed by Steven Lisberger, Written by Steven Lisberger and Bonnie MacBird, 96 minutes, Rated PG.

By our guest blogger, Matthew Schimkowitz

“Tron” isn’t necessarily known or remembered for its plot. The story of a man sucked into a video game, where he fights and plays Frisbee with anthropomorphic computer programs, is probably the least dazzling part of the film. Bridges stars as Flynn, but his character acts as a mere vehicle for the striking and creative visual effects to shine.

In order to prove that he is the rightful designer of a popular video game, Flynn (Jeff Bridges) heads off to the evil ENCOM headquarters to hack their mainframe for evidence. However, he accidentally triggers a human-to-computer transporting laser, which sends him into the program. Inside, he encounters a fluorescent light-based city and plays the games he designed for real.

Steven Lisberger’s script really doesn’t do much justice to the inventive special effects, but it’s as good an excuse as any to get us into this world. And it’s a good thing it works. The various settings and chases of “Tron” thrive with life thanks to the impressive and only occasionally hokey effects. The neon light schemes and Space Invaders-inspired sets only heighten its '80s charms in the best possible way.

If only those effects were enough to sustain the movie throughout it’s 97 minutes, though. “Tron” certainly has its place, but its plot loses hold soon after the film begins. As Flynn takes his time getting into the mainframe, Lisberger bounces between Flynn arguing with his old partners Bruce and Cindy and Flynn’s enemy, Ed Dillinger, playing a game of technical semantics with the computer system, Master Control. The first act drags on these two points for far too long.

When we finally make it into the world of “Tron” there’s a dramatic disconnect between the cool visuals and the boring plotting. Using the qualities of a medieval epic, the plot of “Tron” works in service of navigating us around the different landscapes of ENCOM’s mainframe but, like a computer, treats its user with cold indifference. There’s just not much to care about here.

“Tron” almost never reaches dramatic climax, but it’s still fun enough trip into the past as it showcases some of the early computer-generated wizardry that’s commonplace in theaters today. Much like “Avatar,” “Tron”’s plot is an excuse to let us experience a glorified laser-light show, and it’s a show most wouldn’t trade for the world.

Grade: B

“Tron”

DVD, Blu-Ray Review

Directed by Steven Lisberger, Written by Steven Lisberger and Bonnie MacBird, 96 minutes, Rated PG.

By our guest blogger, Matthew Schimkowitz

“Tron” isn’t necessarily known or remembered for its plot. The story of a man sucked into a video game, where he fights and plays Frisbee with anthropomorphic computer programs, is probably the least dazzling part of the film. Bridges stars as Flynn, but his character acts as a mere vehicle for the striking and creative visual effects to shine.

In order to prove that he is the rightful designer of a popular video game, Flynn (Jeff Bridges) heads off to the evil ENCOM headquarters to hack their mainframe for evidence. However, he accidentally triggers a human-to-computer transporting laser, which sends him into the program. Inside, he encounters a fluorescent light-based city and plays the games he designed for real.

Steven Lisberger’s script really doesn’t do much justice to the inventive special effects, but it’s as good an excuse as any to get us into this world. And it’s a good thing it works. The various settings and chases of “Tron” thrive with life thanks to the impressive and only occasionally hokey effects. The neon light schemes and Space Invaders-inspired sets only heighten its '80s charms in the best possible way.

If only those effects were enough to sustain the movie throughout it’s 97 minutes, though. “Tron” certainly has its place, but its plot loses hold soon after the film begins. As Flynn takes his time getting into the mainframe, Lisberger bounces between Flynn arguing with his old partners Bruce and Cindy and Flynn’s enemy, Ed Dillinger, playing a game of technical semantics with the computer system, Master Control. The first act drags on these two points for far too long.

When we finally make it into the world of “Tron” there’s a dramatic disconnect between the cool visuals and the boring plotting. Using the qualities of a medieval epic, the plot of “Tron” works in service of navigating us around the different landscapes of ENCOM’s mainframe but, like a computer, treats its user with cold indifference. There’s just not much to care about here.

“Tron” almost never reaches dramatic climax, but it’s still fun enough trip into the past as it showcases some of the early computer-generated wizardry that’s commonplace in theaters today. Much like “Avatar,” “Tron”’s plot is an excuse to let us experience a glorified laser-light show, and it’s a show most wouldn’t trade for the world.

Grade: B

Shari Springer Berman and Robert Pulcini's "The Nanny Diaries," based on the best-selling book by former nannies Emma McLaughlin and Nicola Kraus, never should have been released in a theatrical version, let alone in its new incarnation on Blu-ray disc.

What we really have here is a made-for-television movie--and a Lifetime cable television movie, at that--which somehow made its way onto the big screen. Helping it land there is an A-list cast that got suckered into believing that all of this would work out well in the end.

It didn't.

Scarlett Johansson is Annie, a recent college grad who longs to leave behind her tepid life in New Jersey with her mother (Donna Murphy) for the bright lights and excitement of Manhattan.

Her mother sees Annie's career flourishing in the business world, but Annie, who prefers anthropology to accounting, isn't so sure about that or anything in her life, least of all herself. So, when fate intervenes by way of a screaming little boy who nearly is run over in Central Park (Annie saves him), she allows herself to consider the possibilities that stem from their chance meeting.

The boy's polished, Upper East Side mother, Mrs. X (Laura Linney), who could harden the earth's core with the frost in her smile, couldn't be more grateful for Annie's help. In fact, she wants Annie to be the help, swiftly procuring her business card and suggesting that Annie call her straight away. When the other mothers in the Park take note, they follow suit, eagerly crowding around Annie in an effort to sway her to be their child's nanny. Overcome with possibilities, Annie considers her next move.

The short of it goes like this--seeing no better prospects, Annie decides to go with Mrs. X, who predictably turns out to be such a bitter control freak, she makes Annie's life a living hell. For Annie, the good news is that she at least has the pleasure of tending to Mrs. X's son, Grayer (Nicholas Reese Art), the boy brat who comes to love Annie when he is reasonably sure she won't leave him as every other nanny has done.

For romantic relief, the movie offers up the Harvard Hottie (Chris Evans), who takes to Annie regardless of how rude she is to him. For hard-core street advice about life, Alicia Keys shows up in a surprise role as Annie's best friend. She turns out to be the most authentic part of a movie that wishes it was as smart and as entertaining as "The Devil Wears Prada."

Beyond Berman and Pulcini's weak, unimaginative script, the trouble with "The Nanny Diaries" is its cast, the lot of whom are caught slumming for stale summer laughs. Once you've seen Johansson shine in "Match Point" and "Lost in Translation," Linney in "Kinsey" and "The Squid and the Whale," or Giamatti in "Sideways," "Cinderella Man," "The Illusionist" and "American Splendor" (which Berman and Pulcini directed), it's difficult to see them so poorly miscast and underused here. You want to ask them what they were thinking, but then you realize it's probably best not to know.

A final note. If the movie had to be made at all, it should have been made for television with actors whose talents were better suited for the slight material. Here's a dream list--Kelly Rippa as Annie, Kathie Lee Gifford as Mrs. X, Kevin James as her husband and Verne Troyer (yes, Mini Me) as their little boy.

Just imagine the Emmys.

Grade: D+

Shari Springer Berman and Robert Pulcini's "The Nanny Diaries," based on the best-selling book by former nannies Emma McLaughlin and Nicola Kraus, never should have been released in a theatrical version, let alone in its new incarnation on Blu-ray disc.

What we really have here is a made-for-television movie--and a Lifetime cable television movie, at that--which somehow made its way onto the big screen. Helping it land there is an A-list cast that got suckered into believing that all of this would work out well in the end.

It didn't.

Scarlett Johansson is Annie, a recent college grad who longs to leave behind her tepid life in New Jersey with her mother (Donna Murphy) for the bright lights and excitement of Manhattan.

Her mother sees Annie's career flourishing in the business world, but Annie, who prefers anthropology to accounting, isn't so sure about that or anything in her life, least of all herself. So, when fate intervenes by way of a screaming little boy who nearly is run over in Central Park (Annie saves him), she allows herself to consider the possibilities that stem from their chance meeting.

The boy's polished, Upper East Side mother, Mrs. X (Laura Linney), who could harden the earth's core with the frost in her smile, couldn't be more grateful for Annie's help. In fact, she wants Annie to be the help, swiftly procuring her business card and suggesting that Annie call her straight away. When the other mothers in the Park take note, they follow suit, eagerly crowding around Annie in an effort to sway her to be their child's nanny. Overcome with possibilities, Annie considers her next move.

The short of it goes like this--seeing no better prospects, Annie decides to go with Mrs. X, who predictably turns out to be such a bitter control freak, she makes Annie's life a living hell. For Annie, the good news is that she at least has the pleasure of tending to Mrs. X's son, Grayer (Nicholas Reese Art), the boy brat who comes to love Annie when he is reasonably sure she won't leave him as every other nanny has done.

For romantic relief, the movie offers up the Harvard Hottie (Chris Evans), who takes to Annie regardless of how rude she is to him. For hard-core street advice about life, Alicia Keys shows up in a surprise role as Annie's best friend. She turns out to be the most authentic part of a movie that wishes it was as smart and as entertaining as "The Devil Wears Prada."

Beyond Berman and Pulcini's weak, unimaginative script, the trouble with "The Nanny Diaries" is its cast, the lot of whom are caught slumming for stale summer laughs. Once you've seen Johansson shine in "Match Point" and "Lost in Translation," Linney in "Kinsey" and "The Squid and the Whale," or Giamatti in "Sideways," "Cinderella Man," "The Illusionist" and "American Splendor" (which Berman and Pulcini directed), it's difficult to see them so poorly miscast and underused here. You want to ask them what they were thinking, but then you realize it's probably best not to know.

A final note. If the movie had to be made at all, it should have been made for television with actors whose talents were better suited for the slight material. Here's a dream list--Kelly Rippa as Annie, Kathie Lee Gifford as Mrs. X, Kevin James as her husband and Verne Troyer (yes, Mini Me) as their little boy.

Just imagine the Emmys.

Grade: D+

"Lars and the Real Girl"

DVD, Blu-ray Movie Review

Directed by Craig Gillespie, written by Nancy Oliver, 106 minutes, rated PG-13.

By Christoher Smith

Craig Gillespie’s "Lars and the Real Girl" is the story of 27-year-old Lars Lindstrom (Ryan Gosling), a shy, God-fearing man who orders a life-size sex doll through the Internet and eventually accepts her not only as a real person, but also as his new girlfriend, Bianca, a half-Brazilian, half-Danish missionary.

Good for him, you say? Not so fast.

The trouble with Lars is that none of this is a joke. He expects everyone in his life to accept Bianca as a living human being, which not only sounds screwy given Bianca’s rubbery mouth, corked gaze and strawlike hooker wig, but also, as far as this movie is concerned, painfully manufactured and a wee bit creepy.

Given the subject matter, it’s easy to go into the movie armed with resistance — the whole premise is a stretch. After its awkward opening moments, it’s also just as easy to dismiss it, particularly since it initially isn’t clear whether the film is intended to be a comedy or a drama.

But then the director does something unexpected. Working from Nancy Oliver’s script, he starts to unfold the rest of the plot with such grace and seriousness that he nudges you into acceptance of the absurd. It takes time for that to happen — this is a movie that grows on you — but when you come to believe what Lars believes, what ensues can be disarmingly powerful.

How Lars came to this fractured point in his life is a complication best left for the screen to explore, but what can safely be said is that Lars’ older brother, Gus (Paul Schneider), left the family at its lowest point, thus leaving Lars scarred with abandonment issues.

Now those issues have come to a head in ways that Gus, his wife, Karin (Emily Mortimer), Lars’ co-workers (including the terrific Kelli Garner), a local doctor (Patricia Clarkson, excellent) and the entire town must face. This young man is mentally ill and he needs their help. Are they willing to go along with Lars’ delusion in the hopes that he’ll come through it?

Since that means accepting Bianca as a real person, it’s a tall order, to say the least. But as the local pastor puts it to this rural town of Midwesterners, "What would Jesus do?"

What ensues is touching, not schmaltzy, an intelligent film that proves sometimes it really does take a village to change a life — or at least to make an effort to change it. The neat sleight-of-hand the movie achieves is how the townspeople come to need Bianca almost as much as Lars does. This sex doll with the fiery-cold stare and the opened silicone limbs brings the community together in ways for which she never was intended, but there she is, a miracle worker whose ample chest is pinned with dozens of hopes.

Marked by its excellent performances — the movie would have collapsed without the strength of its cast, all of whom play the material mostly straight — "Lars and the Real Girl" looks at life with a frankness and a patience that’s refreshing.

Grade: B+

"Lars and the Real Girl"

DVD, Blu-ray Movie Review

Directed by Craig Gillespie, written by Nancy Oliver, 106 minutes, rated PG-13.

By Christoher Smith

Craig Gillespie’s "Lars and the Real Girl" is the story of 27-year-old Lars Lindstrom (Ryan Gosling), a shy, God-fearing man who orders a life-size sex doll through the Internet and eventually accepts her not only as a real person, but also as his new girlfriend, Bianca, a half-Brazilian, half-Danish missionary.

Good for him, you say? Not so fast.

The trouble with Lars is that none of this is a joke. He expects everyone in his life to accept Bianca as a living human being, which not only sounds screwy given Bianca’s rubbery mouth, corked gaze and strawlike hooker wig, but also, as far as this movie is concerned, painfully manufactured and a wee bit creepy.

Given the subject matter, it’s easy to go into the movie armed with resistance — the whole premise is a stretch. After its awkward opening moments, it’s also just as easy to dismiss it, particularly since it initially isn’t clear whether the film is intended to be a comedy or a drama.

But then the director does something unexpected. Working from Nancy Oliver’s script, he starts to unfold the rest of the plot with such grace and seriousness that he nudges you into acceptance of the absurd. It takes time for that to happen — this is a movie that grows on you — but when you come to believe what Lars believes, what ensues can be disarmingly powerful.

How Lars came to this fractured point in his life is a complication best left for the screen to explore, but what can safely be said is that Lars’ older brother, Gus (Paul Schneider), left the family at its lowest point, thus leaving Lars scarred with abandonment issues.

Now those issues have come to a head in ways that Gus, his wife, Karin (Emily Mortimer), Lars’ co-workers (including the terrific Kelli Garner), a local doctor (Patricia Clarkson, excellent) and the entire town must face. This young man is mentally ill and he needs their help. Are they willing to go along with Lars’ delusion in the hopes that he’ll come through it?

Since that means accepting Bianca as a real person, it’s a tall order, to say the least. But as the local pastor puts it to this rural town of Midwesterners, "What would Jesus do?"

What ensues is touching, not schmaltzy, an intelligent film that proves sometimes it really does take a village to change a life — or at least to make an effort to change it. The neat sleight-of-hand the movie achieves is how the townspeople come to need Bianca almost as much as Lars does. This sex doll with the fiery-cold stare and the opened silicone limbs brings the community together in ways for which she never was intended, but there she is, a miracle worker whose ample chest is pinned with dozens of hopes.

Marked by its excellent performances — the movie would have collapsed without the strength of its cast, all of whom play the material mostly straight — "Lars and the Real Girl" looks at life with a frankness and a patience that’s refreshing.

Grade: B+

“De-Lovely”

DVD, Blu-ray Movie Review

Directed by Irwin Winkler, written by Jay Cocks, 125 minutes, rated PG-13.

By Christopher Smith

In “De-Lovely,” the entertaining, often salacious period musical that chronicles the highs and lows of Cole Porter’s life, it’s the complexity of being Cole Porter that director Irwin Winkler and screenwriter Jay Cocks work to get right.

Porter, who dominated the early to mid-20th century music scene with his stunning catalog of songs, is viewed here as a wealthy, self-destructive, bon vivant bisexual, with a clear interest in exploring his homosexual leanings. As played by Kevin Kline in a jaunty, anything goes performance, he did so, too, with an openness and an enthusiasm that eventually put a strain on his 35-year marriage to his wife, the glamorous Linda Thomas (Ashley Judd).

Not that he deceived her. According to the movie, Porter was clear with Linda about his interest in men before they married. They had, shall we say, an unconventional relationship. They also had an unspoken agreement, with Linda breezily suggesting to Porter early in their relationship that “look--you like men more than I do,” thus essentially letting him off the hook to fool around.


What comes through in the movie is this—regardless of the cost, Linda wanted Porter’s heart and soul. No matter what, she wanted to be near his talent and infectious charm. What he did on the side was none of her business so long as he was discrete and that it didn’t interfere with the bones of their relationship.

Since nothing can ever be so neat where emotions are involved, they’re not neat here. That said, they’re also not as messy as they could have been.

Covering nearly 40 years, the movie begins in 1964, the year of Porter’s death, with an elderly, dying Porter viewing his life with the help of Gabe (Jonathan Pryce), a mysterious Broadway producer who seems as if he stepped out of a Bob Fosse version of “A Christmas Carol.” Essentially, he’s the Angel of Death with a stage voice and a spotlight on his face.

On the stage before them, scenes of Porter’s life unfold, with Porter periodically discussing with Gabe those tantamount, defining moments that lifted him up, crushed him down (literally in one scene) and shaped him into the lonely, unhappy man he became.

As Porter, Kline may be too good looking for the part, but his performance is so convincing, he nevertheless persuades you to believe he’s the man. He has Porter’s wit, his complexity, his sophistication. He also sings here, nicely, as does Judd, who may once again be playing a woman in peril, but at least this time out she’s not tracking down some shady serial killer in the process.
 
Here, she’s refined, racy and lovely, possessing the very spark that likely proved the inspiration for so many of Porter’s songs. Like Kline, she’s alive and game for anything, which allows us to understand the strength of the Porters’ bond, which threatened to break apart more than once.

In the end, it’s Winkler’s willingness to explore Porter’s sexuality that marks “De-Lovely” as a departure from the slight, 1946 biopic of his life, “Night for Day,” in which Cary Grant’s Porter didn’t give a hint of the composer’s real sexual inclinations.

Whereas that movie was a cover-up, this one tosses back the sheets and allows us a glimpse at what occurred beneath them. In spite of the film’s awkward, gimmicky structure—and several songs by contemporary performers that are occasionally strained, with the exception of Robbie Williams, Natalie Cole and Alanis Morissette--the movie does offer insight into a man whose lyrics are now underscored with the deeper, hidden rhythms of truth.

Grade: B

“De-Lovely”

DVD, Blu-ray Movie Review

Directed by Irwin Winkler, written by Jay Cocks, 125 minutes, rated PG-13.

By Christopher Smith

In “De-Lovely,” the entertaining, often salacious period musical that chronicles the highs and lows of Cole Porter’s life, it’s the complexity of being Cole Porter that director Irwin Winkler and screenwriter Jay Cocks work to get right.

Porter, who dominated the early to mid-20th century music scene with his stunning catalog of songs, is viewed here as a wealthy, self-destructive, bon vivant bisexual, with a clear interest in exploring his homosexual leanings. As played by Kevin Kline in a jaunty, anything goes performance, he did so, too, with an openness and an enthusiasm that eventually put a strain on his 35-year marriage to his wife, the glamorous Linda Thomas (Ashley Judd).

Not that he deceived her. According to the movie, Porter was clear with Linda about his interest in men before they married. They had, shall we say, an unconventional relationship. They also had an unspoken agreement, with Linda breezily suggesting to Porter early in their relationship that “look--you like men more than I do,” thus essentially letting him off the hook to fool around.


What comes through in the movie is this—regardless of the cost, Linda wanted Porter’s heart and soul. No matter what, she wanted to be near his talent and infectious charm. What he did on the side was none of her business so long as he was discrete and that it didn’t interfere with the bones of their relationship.

Since nothing can ever be so neat where emotions are involved, they’re not neat here. That said, they’re also not as messy as they could have been.

Covering nearly 40 years, the movie begins in 1964, the year of Porter’s death, with an elderly, dying Porter viewing his life with the help of Gabe (Jonathan Pryce), a mysterious Broadway producer who seems as if he stepped out of a Bob Fosse version of “A Christmas Carol.” Essentially, he’s the Angel of Death with a stage voice and a spotlight on his face.

On the stage before them, scenes of Porter’s life unfold, with Porter periodically discussing with Gabe those tantamount, defining moments that lifted him up, crushed him down (literally in one scene) and shaped him into the lonely, unhappy man he became.

As Porter, Kline may be too good looking for the part, but his performance is so convincing, he nevertheless persuades you to believe he’s the man. He has Porter’s wit, his complexity, his sophistication. He also sings here, nicely, as does Judd, who may once again be playing a woman in peril, but at least this time out she’s not tracking down some shady serial killer in the process.
 
Here, she’s refined, racy and lovely, possessing the very spark that likely proved the inspiration for so many of Porter’s songs. Like Kline, she’s alive and game for anything, which allows us to understand the strength of the Porters’ bond, which threatened to break apart more than once.

In the end, it’s Winkler’s willingness to explore Porter’s sexuality that marks “De-Lovely” as a departure from the slight, 1946 biopic of his life, “Night for Day,” in which Cary Grant’s Porter didn’t give a hint of the composer’s real sexual inclinations.

Whereas that movie was a cover-up, this one tosses back the sheets and allows us a glimpse at what occurred beneath them. In spite of the film’s awkward, gimmicky structure—and several songs by contemporary performers that are occasionally strained, with the exception of Robbie Williams, Natalie Cole and Alanis Morissette--the movie does offer insight into a man whose lyrics are now underscored with the deeper, hidden rhythms of truth.

Grade: B

"Skyline" (2010)

DVD, Blu-ray Movie Review


Directed by Colin and Greg Strause, Written by Joshua Cordes and Liam O'Donnell, Rated R, 92-minutes.

By our guest blogger, Matthew Schimokowitz

For a movie that warns of the dangers of shiny objects, "Skyline" sure makes us look at a lot of them. Though never trying to be anything more than a fun invasion flick, the film's very apparent similarities to other, better movies weigh it down. What’s more, its lack of logic and convincing characters will frequently keep your brain on Earth, no matter how hard this thing tries to suck your brain out of you.

Just out on DVD and Blu-ray disc, "Skyline" is about a special effect gone awry. Terry (Donald Faison in a role that plays to the actor’s every weakness), a Hollywood visual effects designer, invites Jarrod (Eric Balfour) to LA to offer him a job on a "Transformers"-type movie.

Jarrod is unsure. Can he give up his stable life of photography and scrapbooking? He has a wife and, despite being an artist, he doesn’t know how he could be of any use to a graphic designer. That is until an army of brain-stealing, squid-looking aliens attack and abduct the human race by attracting them with what no human can resist--blinding rays of blue light.

It’s funny that Jarrod is making a scrapbook early on, because that’s what this movie is. From "Independence Day" to "The Matrix" to "Cloverfield," "Skyline" borrows ideas from just about every big-budget sci-fi film of the last 15 years. It uses these familiar sights as a crutch, but the fun of these past films is to see something otherworldly. By boldly going where so many movies have gone before, "Skyline" comes off as too familiar to be alien.

Most importantly, "Skyline" misses what made those movies successful--likeable characters and an exciting plot. Here, the story is too convenient and its character too illogical. They have no rules to follow, but it wouldn’t matter anyway, because the aliens foil their every move with some new weapon or power they suddenly have. It’s the type a movie that splits characters up just so there are more cars to smash and where aliens can’t see through blinds simply because the writers didn’t see "Predator."

In all of the film's familiarity, the movie expects our allegiance, but without a decent plot or believable characters, the film has no hope of abducting our attention. It’s never boring and it has an array of stunning effects, but "Skyline" isn’t original enough to stand out as something memorable.

Grade: C

"Skyline" (2010)

DVD, Blu-ray Movie Review


Directed by Colin and Greg Strause, Written by Joshua Cordes and Liam O'Donnell, Rated R, 92-minutes.

By our guest blogger, Matthew Schimokowitz

For a movie that warns of the dangers of shiny objects, "Skyline" sure makes us look at a lot of them. Though never trying to be anything more than a fun invasion flick, the film's very apparent similarities to other, better movies weigh it down. What’s more, its lack of logic and convincing characters will frequently keep your brain on Earth, no matter how hard this thing tries to suck your brain out of you.

Just out on DVD and Blu-ray disc, "Skyline" is about a special effect gone awry. Terry (Donald Faison in a role that plays to the actor’s every weakness), a Hollywood visual effects designer, invites Jarrod (Eric Balfour) to LA to offer him a job on a "Transformers"-type movie.

Jarrod is unsure. Can he give up his stable life of photography and scrapbooking? He has a wife and, despite being an artist, he doesn’t know how he could be of any use to a graphic designer. That is until an army of brain-stealing, squid-looking aliens attack and abduct the human race by attracting them with what no human can resist--blinding rays of blue light.

It’s funny that Jarrod is making a scrapbook early on, because that’s what this movie is. From "Independence Day" to "The Matrix" to "Cloverfield," "Skyline" borrows ideas from just about every big-budget sci-fi film of the last 15 years. It uses these familiar sights as a crutch, but the fun of these past films is to see something otherworldly. By boldly going where so many movies have gone before, "Skyline" comes off as too familiar to be alien.

Most importantly, "Skyline" misses what made those movies successful--likeable characters and an exciting plot. Here, the story is too convenient and its character too illogical. They have no rules to follow, but it wouldn’t matter anyway, because the aliens foil their every move with some new weapon or power they suddenly have. It’s the type a movie that splits characters up just so there are more cars to smash and where aliens can’t see through blinds simply because the writers didn’t see "Predator."

In all of the film's familiarity, the movie expects our allegiance, but without a decent plot or believable characters, the film has no hope of abducting our attention. It’s never boring and it has an array of stunning effects, but "Skyline" isn’t original enough to stand out as something memorable.

Grade: C

"The Walking Dead"

DVD, Blu-Ray Television Review

By our guest blogger, Matthew Schimkowitz

AMC’s zombie revival “The Walking Dead” may not be perfect, but it sure comes close. The series, spearheaded by writer/director/producer Frank Darabont and adapted from Robert Kirkman and Tony Moore's acclaimed comic series, turns the flooded zombie market on its head, takes the concept seriously, and uses the device to heighten the show’s drama.

"The Walking Dead" follows Rick Grimes (Andrew Lincoln), a lone sheriff who awakes from a coma during the Zombie Apocalypse. With the world in ruins, Grimes searches the destroyed Atlanta area for his missing family and, along the way, meets the remnants of mankind and deals with their slipping mental states in hopes of finding his wife and child.

Darabont does his best to keep humanity and fright in the living dead. Each zombie retains its human qualities, allowing the characters to wonder who they once were, and thus, sympathize with their attacker. There’s weight in each bullet, as the zombie looks at the survivors with recognition before chowing down on their flesh.

The show has a cast of dozens, including character actor Michael Rooker, who carries one of the show’s best scenes, and Jon Bernthal playing Grimes' partner who, in Frank’s absence, fills the role of husband to Lori Grimes (Sarah Wayne Callies) and father to Frank’s son. This triangle creates an undercurrent of human drama amidst the paranormal threat.

Kirkwood and Moore's story fires on all cylinders, remembering that human struggle makes the genre interesting, not body counts -- although, Darabont doesn't ignore this either, bringing on horror veteran Greg Nicotero to provide the blood. Gruesome? Yes. Exploitative? Not in the slightest. The show uses gore effectively to add to the threat.

It'd be easy to compare "The Walking Dead" to George A. Romero's classics (Dawn of the Dead, Night of the Living Dead). However, the show’s episodic structure and clear focus on character are more akin the plane-crash survivors of “Lost.” Likewise, "The Walking Dead"'s cliffhanger endings, goofier moments and tear-jerker episodes are just as addicting.

Not every episode is a winner, but it's fantastic two-hour pilot and stand out episodes like "Tell it to the Frogs" and "TS-19” create enough great character moments and scares to excite genre and non-genre fans alike. The show keeps the scares and surprises coming, and unlike his contemporaries, Darabont gives life to the living and living-dead, making his vision of doomsday all the more satisfying.

Grade: B+

"The Walking Dead"

DVD, Blu-Ray Television Review

By our guest blogger, Matthew Schimkowitz

AMC’s zombie revival “The Walking Dead” may not be perfect, but it sure comes close. The series, spearheaded by writer/director/producer Frank Darabont and adapted from Robert Kirkman and Tony Moore's acclaimed comic series, turns the flooded zombie market on its head, takes the concept seriously, and uses the device to heighten the show’s drama.

"The Walking Dead" follows Rick Grimes (Andrew Lincoln), a lone sheriff who awakes from a coma during the Zombie Apocalypse. With the world in ruins, Grimes searches the destroyed Atlanta area for his missing family and, along the way, meets the remnants of mankind and deals with their slipping mental states in hopes of finding his wife and child.

Darabont does his best to keep humanity and fright in the living dead. Each zombie retains its human qualities, allowing the characters to wonder who they once were, and thus, sympathize with their attacker. There’s weight in each bullet, as the zombie looks at the survivors with recognition before chowing down on their flesh.

The show has a cast of dozens, including character actor Michael Rooker, who carries one of the show’s best scenes, and Jon Bernthal playing Grimes' partner who, in Frank’s absence, fills the role of husband to Lori Grimes (Sarah Wayne Callies) and father to Frank’s son. This triangle creates an undercurrent of human drama amidst the paranormal threat.

Kirkwood and Moore's story fires on all cylinders, remembering that human struggle makes the genre interesting, not body counts -- although, Darabont doesn't ignore this either, bringing on horror veteran Greg Nicotero to provide the blood. Gruesome? Yes. Exploitative? Not in the slightest. The show uses gore effectively to add to the threat.

It'd be easy to compare "The Walking Dead" to George A. Romero's classics (Dawn of the Dead, Night of the Living Dead). However, the show’s episodic structure and clear focus on character are more akin the plane-crash survivors of “Lost.” Likewise, "The Walking Dead"'s cliffhanger endings, goofier moments and tear-jerker episodes are just as addicting.

Not every episode is a winner, but it's fantastic two-hour pilot and stand out episodes like "Tell it to the Frogs" and "TS-19” create enough great character moments and scares to excite genre and non-genre fans alike. The show keeps the scares and surprises coming, and unlike his contemporaries, Darabont gives life to the living and living-dead, making his vision of doomsday all the more satisfying.

Grade: B+

“Excalibur”

DVD, Blu-Ray Review

Directed by John Boorman, Written by John Boorman, Rospo Pallenberg, and Thomas Malory (book), 140 minutes, Rated PG.

By our guest blogger, Matthew Schimkowitz

A King Arthur tale without romantics isn’t much of an Arthur tale, but perhaps John Boorman’s retelling of the legend in “Excalibur,” now out on Blu-ray disc, goes too far. The enthused and decidedly hyperbolic actors ham it up; the smoky sets and purple- and green-lighting design date the production; and Boorman’s epic structure covers so much ground and time, it never fully engages the viewer. It has all the makings of an epic adventure -- it’s just not a very exciting one.

“Excalibur” features a remarkable amount the Arthur legend in its two-and-a-half hours. Beginning with the sheathing of the mighty sword into stone by the wizard Merlin (Nicol Williamson), who prophesizes the coming of the king, the film follows that prediction’s coming to pass.

After claiming the sword, King Arthur (Nigel Terry) follows Merlin through several trials of virtue before forming his own court. There, he enlists the knight Lancelot (Nicholas Clay), the Squire Percival (Paul Geoffrey), and his queen Guinevere (Cherie Lunghi) to take seat at the Round Table of Camelot. Arthur muses of the prosperity of Camelot, but wicked deeds are afoot. Morgana (Helen Mirren), Arthur’s sorceress sister, lusts after Merlin and the crown, plotting to claim both by to outsmarting Merlin, and birthing a son to dethrone and kill the king.

Boorman and his screenwriting partner Rospo Pallenberg give themselves to the legend, recounting Camelot’s greatest trials with haste and diligence. Each scene contains one story, delivering one aspect of the myth, before moving on to something entirely different while adding to the bigger picture. “Excalibur”’s episodic structure allot Boorman the time to cover most of the story, from the sword and the stone, to the formation of Camelot, and finally, the search for the Holy Grail.

Unfortunately, this structuring is a double-edged sword--Boorman breezes through the legends but he doesn't engage with his audience. The director strives to make “Excalibur” the most romantic epic possible, demanding exaggerated performances from his cast. But the facial gymnastics don’t bring the audience any closer to the Roundtable -- they alienate them. The story’s epic and the character’s are mythic, but the film’s production design and acting may be spoiled on a generation raised on Medieval Times commercials.

The lack of engagement and spotty scripting make “Excalibur” a slow-moving and messy endeavor. Boorman’s ambition stands in his way as he teaches us what Arthur does, but never who the man actually is. The idea and story are there--they just don’t lead to anything particularly entertaining.

Grade: B

“Excalibur”

DVD, Blu-Ray Review

Directed by John Boorman, Written by John Boorman, Rospo Pallenberg, and Thomas Malory (book), 140 minutes, Rated PG.

By our guest blogger, Matthew Schimkowitz

A King Arthur tale without romantics isn’t much of an Arthur tale, but perhaps John Boorman’s retelling of the legend in “Excalibur,” now out on Blu-ray disc, goes too far. The enthused and decidedly hyperbolic actors ham it up; the smoky sets and purple- and green-lighting design date the production; and Boorman’s epic structure covers so much ground and time, it never fully engages the viewer. It has all the makings of an epic adventure -- it’s just not a very exciting one.

“Excalibur” features a remarkable amount the Arthur legend in its two-and-a-half hours. Beginning with the sheathing of the mighty sword into stone by the wizard Merlin (Nicol Williamson), who prophesizes the coming of the king, the film follows that prediction’s coming to pass.

After claiming the sword, King Arthur (Nigel Terry) follows Merlin through several trials of virtue before forming his own court. There, he enlists the knight Lancelot (Nicholas Clay), the Squire Percival (Paul Geoffrey), and his queen Guinevere (Cherie Lunghi) to take seat at the Round Table of Camelot. Arthur muses of the prosperity of Camelot, but wicked deeds are afoot. Morgana (Helen Mirren), Arthur’s sorceress sister, lusts after Merlin and the crown, plotting to claim both by to outsmarting Merlin, and birthing a son to dethrone and kill the king.

Boorman and his screenwriting partner Rospo Pallenberg give themselves to the legend, recounting Camelot’s greatest trials with haste and diligence. Each scene contains one story, delivering one aspect of the myth, before moving on to something entirely different while adding to the bigger picture. “Excalibur”’s episodic structure allot Boorman the time to cover most of the story, from the sword and the stone, to the formation of Camelot, and finally, the search for the Holy Grail.

Unfortunately, this structuring is a double-edged sword--Boorman breezes through the legends but he doesn't engage with his audience. The director strives to make “Excalibur” the most romantic epic possible, demanding exaggerated performances from his cast. But the facial gymnastics don’t bring the audience any closer to the Roundtable -- they alienate them. The story’s epic and the character’s are mythic, but the film’s production design and acting may be spoiled on a generation raised on Medieval Times commercials.

The lack of engagement and spotty scripting make “Excalibur” a slow-moving and messy endeavor. Boorman’s ambition stands in his way as he teaches us what Arthur does, but never who the man actually is. The idea and story are there--they just don’t lead to anything particularly entertaining.

Grade: B

"Inside Job"

DVD, Blu-Ray Movie Review

Directed by Charles Ferguson, Written by Chad Beck and Adam Bolt, 120 minutes, Rated PG-13.

By our guest blogger, Matthew Schimkowitz

The complex tale of fraud, foreclosure and whole a lot of money goes under the microscope in Charles Ferguson's Oscar-winning documentary "Inside Job," now out on Blu-Ray and DVD. Ferguson’s film chronicles the recent economic recession, starting from the downfall of the Internet stock boom to the rise of the derivative bubble and the financial disaster that crippled the world.

If this sounds confusing or overwhelming, fear not, Ferguson’s tight narrative, daring interviews and careful explanation breaks down the details, making this financing nightmare clear and infuriating.

“Inside Job” opens with Iceland’s quick economic meltdown, which turned the self-sustaining bastion of prosperity into a destitute nation. Iceland’s prologue offers a micro example of what would become the world’s economic recession.

Ferguson begins America’s role in 2001, after the fall of the Internet boom, another microcosm of the soon-to-be worldwide disaster. The fall of this industry caused Wall Street to turn their sites towards something more controllable, namely mortgages, financing, and loans, which would allow them to play other people’s money on the stock market, as well as control which stocks rated higher.

With the stock buyers, regulators and raters in control, they could raise the price of risky stocks and bail out and profit before it crashed. It is a cycle of increased risk taking, deregulation, and lowered morals, which not only brought great wealth to few, but also bankrupted many.

The film counteracts the confusing Wall Street jargon and economic aerobics by sitting down with those who know, teach, and utilize these practices from both sides of the fence. Speaking with economic professors, stockholders, and regulators, Ferguson gets a well-rounded, clear argument – although his opposition doesn’t really have much of one. Some speak of the amoral attitudes and ambitions of Wall Street’s heavy-hitters, as those responsible stumble between bad excuses and not commenting.

Matt Damon’s narration over Ferguson’s graphics tie it all together. While the film might be cold and factual, it never allows anything but the facts to get in the way. There are consequences to these actions, and the film doesn’t ignore those affected entirely, but “Inside Job” educates its audience with a sure voice, rather than an emotional one. The filmmakers slow things down and break apart the flaws in economic logic, as well as the pratfalls in those supposedly looking out for the public’s best interest.

Grade: A-

"Inside Job"

DVD, Blu-Ray Movie Review

Directed by Charles Ferguson, Written by Chad Beck and Adam Bolt, 120 minutes, Rated PG-13.

By our guest blogger, Matthew Schimkowitz

The complex tale of fraud, foreclosure and whole a lot of money goes under the microscope in Charles Ferguson's Oscar-winning documentary "Inside Job," now out on Blu-Ray and DVD. Ferguson’s film chronicles the recent economic recession, starting from the downfall of the Internet stock boom to the rise of the derivative bubble and the financial disaster that crippled the world.

If this sounds confusing or overwhelming, fear not, Ferguson’s tight narrative, daring interviews and careful explanation breaks down the details, making this financing nightmare clear and infuriating.

“Inside Job” opens with Iceland’s quick economic meltdown, which turned the self-sustaining bastion of prosperity into a destitute nation. Iceland’s prologue offers a micro example of what would become the world’s economic recession.

Ferguson begins America’s role in 2001, after the fall of the Internet boom, another microcosm of the soon-to-be worldwide disaster. The fall of this industry caused Wall Street to turn their sites towards something more controllable, namely mortgages, financing, and loans, which would allow them to play other people’s money on the stock market, as well as control which stocks rated higher.

With the stock buyers, regulators and raters in control, they could raise the price of risky stocks and bail out and profit before it crashed. It is a cycle of increased risk taking, deregulation, and lowered morals, which not only brought great wealth to few, but also bankrupted many.

The film counteracts the confusing Wall Street jargon and economic aerobics by sitting down with those who know, teach, and utilize these practices from both sides of the fence. Speaking with economic professors, stockholders, and regulators, Ferguson gets a well-rounded, clear argument – although his opposition doesn’t really have much of one. Some speak of the amoral attitudes and ambitions of Wall Street’s heavy-hitters, as those responsible stumble between bad excuses and not commenting.

Matt Damon’s narration over Ferguson’s graphics tie it all together. While the film might be cold and factual, it never allows anything but the facts to get in the way. There are consequences to these actions, and the film doesn’t ignore those affected entirely, but “Inside Job” educates its audience with a sure voice, rather than an emotional one. The filmmakers slow things down and break apart the flaws in economic logic, as well as the pratfalls in those supposedly looking out for the public’s best interest.

Grade: A-

“Bambi” 

DVD, Blu-Ray Movie Review

Directed by James Algar, Samuel Armstrong, David Hand, Graham Heid, Bill Roberts, Paul Satterfield, and Norman Wright, Written by Felix Salten (Story), Perce Pearce, Larry Morey, Vernin Stallings, Melvin Shaw, Carl Fallberg, Chuch Couch, and Ralph Wright, 70 minutes, Rated G.

By our guest blogger, Matthew Schimkowitz

Disney’s fifth animated feature--now out on Blu-ray disc--is a film of firsts.

Following a young fawn through the first year of his life, the film offers its audience a glimpse into the life of animals, from birth to death, and it recalls the joys of youth in the process. The film's realistic illustrations, careful structure and its depiction of death make it one the studio’s most beloved works. It's a coming-of-age story told with charm, beauty and reality.

Beginning at his birth, the film follows our titular fawn prince throughout his first year. Born in the summer, we see Bambi (voice of Donnie Dugan) take his first steps, hear him say his first words and watch him make his first friends. Bambi learns through socialization as do Thumper the rabbit (Peter Behn), Flower the skunk (Stan Alexander), and Faline the female fawn (Cammie King Conlon). They listen to their parents and thus learn through experience.

Bambi is born without a personality, and as we watch his character develop, we connect with his fresh look at the forest, whether he's doing so with curiosity or fear. Man provides Bambi with his first taste of the latter. With guns and fire in toe, man terrorizes the forest and, keeping with the film’s realistic view of nature, man succeeds in killing main characters.

The death of Bambi’s mother is one the most defining moment in Disney animation and, frankly, film itself. Moving away from the fairy tales of their first few pictures, Disney’s team doesn’t shy away from mortality in “Bambi.” It creates not only Bambi’s first look at death, but also a first look at death for the film's young audience. It's a moment that traumatized children across the nation, and one that Disney continued to replicate in such films as “The Lion King.”

“Bambi” offered the studio something entirely different. The forest's dim colors and the realistic depiction of animals make the film feel more down to Earth than, say, “Pinocchio” or “Snow White.”  The animals may talk, but they never appear as cartoonish as Disney's other works. The film’s loyalty to this realistic aesthetic bleeds over into the plot, and it does a remarkably fine job of it.

Grade: A

“Bambi” 

DVD, Blu-Ray Movie Review

Directed by James Algar, Samuel Armstrong, David Hand, Graham Heid, Bill Roberts, Paul Satterfield, and Norman Wright, Written by Felix Salten (Story), Perce Pearce, Larry Morey, Vernin Stallings, Melvin Shaw, Carl Fallberg, Chuch Couch, and Ralph Wright, 70 minutes, Rated G.

By our guest blogger, Matthew Schimkowitz

Disney’s fifth animated feature--now out on Blu-ray disc--is a film of firsts.

Following a young fawn through the first year of his life, the film offers its audience a glimpse into the life of animals, from birth to death, and it recalls the joys of youth in the process. The film's realistic illustrations, careful structure and its depiction of death make it one the studio’s most beloved works. It's a coming-of-age story told with charm, beauty and reality.

Beginning at his birth, the film follows our titular fawn prince throughout his first year. Born in the summer, we see Bambi (voice of Donnie Dugan) take his first steps, hear him say his first words and watch him make his first friends. Bambi learns through socialization as do Thumper the rabbit (Peter Behn), Flower the skunk (Stan Alexander), and Faline the female fawn (Cammie King Conlon). They listen to their parents and thus learn through experience.

Bambi is born without a personality, and as we watch his character develop, we connect with his fresh look at the forest, whether he's doing so with curiosity or fear. Man provides Bambi with his first taste of the latter. With guns and fire in toe, man terrorizes the forest and, keeping with the film’s realistic view of nature, man succeeds in killing main characters.

The death of Bambi’s mother is one the most defining moment in Disney animation and, frankly, film itself. Moving away from the fairy tales of their first few pictures, Disney’s team doesn’t shy away from mortality in “Bambi.” It creates not only Bambi’s first look at death, but also a first look at death for the film's young audience. It's a moment that traumatized children across the nation, and one that Disney continued to replicate in such films as “The Lion King.”

“Bambi” offered the studio something entirely different. The forest's dim colors and the realistic depiction of animals make the film feel more down to Earth than, say, “Pinocchio” or “Snow White.”  The animals may talk, but they never appear as cartoonish as Disney's other works. The film’s loyalty to this realistic aesthetic bleeds over into the plot, and it does a remarkably fine job of it.

Grade: A

"The Cable Guy" DVD, Blu-Ray Review

Directed by Ben Stiller, Written by Lou Holtz, Jr., 96 minutes, Rated PG-13.

By our guest blogger, Matthew Schimkowitz

To an Ace Ventura-obsessed public, "The Cable Guy" was a slap in the face to 9-year-olds across the nation when it debuted in 1996 (it's now just out on Blu-ray disc). Its dark sensibilities and sardonic tone pulls no punches. Stiller's film indicts a generation raised on television, leaving few stones unturned and fewer Nick-at-Nite classics unreferenced.

While separated from his girlfriend, Robin (Leslie Mann), Steven Kovacs (Matthew Broderick) strikes a surprising new relationship with his friendly cable guy, Chip Douglas (Jim Carrey). Steven, an all around friendly and well-meaning guy, humors Chip with the prospect of friendship to not hurt Chip's feelings, but the lonely cable guy stops at nothing to please his "preferred customers." Chip's obsession begins to intrude on Steven's personal and professional relationships, forcing Steven to cut Chip loose, and thus sending the disturbed cable guy into a psychotic frenzy.

On paper, "The Cable Guy" resembles thrillers like "Fatal Attraction" and "Strangers on a Train," and at times, the film takes these more unsettling cues. But Carrey and Stiller focus their energy on making Chip's personality disorder funny -- a byproduct of learning the facts of life from watching "The Facts of Life."

Carrey's elastic-man performance kicks the film into hyperdrive, allowing him to be alternately inviting and horrifying. Likewise, Stiller's biting satirical style presents a cartoonish look at the effects of television in its most extreme and mundane forms. To Stiller, the casual viewer depends on the tube for their daily dose of sensationalized escape, while Chip relies on it for guidance.

"The Cable Guy" marked a turn in the careers for both Carrey and Stiller. Carrey's star-power tricked people into turning this offbeat, pitch-black comedy into a summer blockbuster. While Stiller would continue to use satire to skew the industries he's tied to, which heightens his work. Unsurprisingly, the films Stiller directs turn out to be some of his best.

"The Cable Guy" is no exception. For a directorial debut, it's expertly paced and dangerously toned. Carrey's physical and vocal dexterity is hilariously pathetic and menacing, and his magnetic performance drives the film.

Stiller's film might not have been right for a summer release date, but in years since, it's developed a well-deserved cult following. "The Cable Guy" holds up magnificently and provides a nice launching pad for the oft-surprising careers of its masterminds.

Grade: B+

"The Cable Guy" DVD, Blu-Ray Review

Directed by Ben Stiller, Written by Lou Holtz, Jr., 96 minutes, Rated PG-13.

By our guest blogger, Matthew Schimkowitz

To an Ace Ventura-obsessed public, "The Cable Guy" was a slap in the face to 9-year-olds across the nation when it debuted in 1996 (it's now just out on Blu-ray disc). Its dark sensibilities and sardonic tone pulls no punches. Stiller's film indicts a generation raised on television, leaving few stones unturned and fewer Nick-at-Nite classics unreferenced.

While separated from his girlfriend, Robin (Leslie Mann), Steven Kovacs (Matthew Broderick) strikes a surprising new relationship with his friendly cable guy, Chip Douglas (Jim Carrey). Steven, an all around friendly and well-meaning guy, humors Chip with the prospect of friendship to not hurt Chip's feelings, but the lonely cable guy stops at nothing to please his "preferred customers." Chip's obsession begins to intrude on Steven's personal and professional relationships, forcing Steven to cut Chip loose, and thus sending the disturbed cable guy into a psychotic frenzy.

On paper, "The Cable Guy" resembles thrillers like "Fatal Attraction" and "Strangers on a Train," and at times, the film takes these more unsettling cues. But Carrey and Stiller focus their energy on making Chip's personality disorder funny -- a byproduct of learning the facts of life from watching "The Facts of Life."

Carrey's elastic-man performance kicks the film into hyperdrive, allowing him to be alternately inviting and horrifying. Likewise, Stiller's biting satirical style presents a cartoonish look at the effects of television in its most extreme and mundane forms. To Stiller, the casual viewer depends on the tube for their daily dose of sensationalized escape, while Chip relies on it for guidance.

"The Cable Guy" marked a turn in the careers for both Carrey and Stiller. Carrey's star-power tricked people into turning this offbeat, pitch-black comedy into a summer blockbuster. While Stiller would continue to use satire to skew the industries he's tied to, which heightens his work. Unsurprisingly, the films Stiller directs turn out to be some of his best.

"The Cable Guy" is no exception. For a directorial debut, it's expertly paced and dangerously toned. Carrey's physical and vocal dexterity is hilariously pathetic and menacing, and his magnetic performance drives the film.

Stiller's film might not have been right for a summer release date, but in years since, it's developed a well-deserved cult following. "The Cable Guy" holds up magnificently and provides a nice launching pad for the oft-surprising careers of its masterminds.

Grade: B+

“A River Runs Through It” DVD, Blu-Ray Movie Review

Directed by Robert Redford, Written by Norman Maclean (story) and Richard Friedenberg, 123 minutes, Rated PG.

By our guest blogger, Matthew Schimkowitz

Just out on Blu-ray disc, Robert Redford’s “A River Runs Through It” is a Norman Rockwell painting come to life.

Reflecting the nostalgia and wholesomeness of Rockwell’s work, the film details American life in the first half of 20th century, and it does so poetically and quietly. Redford’s subtle directing, Philippe Rousselot's stunning camera work and the cast’s disciplined performances make for a peaceful visit to a simpler time. Connecting the bonds of family, nature and time with the serenity of fly fishing, the film teaches a lesson in every scene with precision and purpose.

“A River Runs Through It” follows the Maclean family as their two sons, Norman and Paul, come of age. However, despite their close upbringing and relationship, the boys walk divergent paths.

The first born son and our narrator, Norman (Craig Sheffer), takes the straight and narrow. While “River” briefly shows us his childhood, the film doesn’t really get underway until Norman returns from Dartmouth College and looks for his next endeavor. Uncertain of his calling, he spends the film in quiet contemplation, deciding his next move and meeting his first love Jessie (Emily Lloyd).

On the other hand, Norman’s brother, Paul (Brad Pitt), takes a more dangerous route. More thickheaded than Norman, Paul’s stubbornness and smooth-talking persona wins him a job as a reporter for a local newspaper and thus a reckless lifestyle. At the paper, he carves out a bit of fame for himself -- though, in the eyes of the local bookies, he’s already a star. Paul’s problems are many, but as Norman points out, with a fishing lure, he’s an artist.

Fishing ties these boys together. Their Reverend father's (Tom Skerritt) fishing lessons teaches them the discipline to carry on in the face adversity. It keeps them grounded and gives the film rhythm. Shots of the characters tracking and luring the fish slow things efficiently, allowing the audience a chance to breathe. Redford wants his film internalized, and these scenes create moments of serenity and reflection.

Redford succeeds at matching his thoughtful story to his contemplative image. Philippe Rousselot's Oscar-winning photography creates an aura of nostalgia that surrounds the serene Montana plains. Likewise, Norman’s poetic narration add to the dream-like tone of the film, while the cast’s complex performances turn that dream into a reality.

“A River Runs Through It” is a slow film. But during its quiet lurch, the film gives the viewer a chance to reflect and relate. Redford puts their life to film and does so with a gracefulness most directors only dream of.

Grade: B+

“A River Runs Through It” DVD, Blu-Ray Movie Review

Directed by Robert Redford, Written by Norman Maclean (story) and Richard Friedenberg, 123 minutes, Rated PG.

By our guest blogger, Matthew Schimkowitz

Just out on Blu-ray disc, Robert Redford’s “A River Runs Through It” is a Norman Rockwell painting come to life.

Reflecting the nostalgia and wholesomeness of Rockwell’s work, the film details American life in the first half of 20th century, and it does so poetically and quietly. Redford’s subtle directing, Philippe Rousselot's stunning camera work and the cast’s disciplined performances make for a peaceful visit to a simpler time. Connecting the bonds of family, nature and time with the serenity of fly fishing, the film teaches a lesson in every scene with precision and purpose.

“A River Runs Through It” follows the Maclean family as their two sons, Norman and Paul, come of age. However, despite their close upbringing and relationship, the boys walk divergent paths.

The first born son and our narrator, Norman (Craig Sheffer), takes the straight and narrow. While “River” briefly shows us his childhood, the film doesn’t really get underway until Norman returns from Dartmouth College and looks for his next endeavor. Uncertain of his calling, he spends the film in quiet contemplation, deciding his next move and meeting his first love Jessie (Emily Lloyd).

On the other hand, Norman’s brother, Paul (Brad Pitt), takes a more dangerous route. More thickheaded than Norman, Paul’s stubbornness and smooth-talking persona wins him a job as a reporter for a local newspaper and thus a reckless lifestyle. At the paper, he carves out a bit of fame for himself -- though, in the eyes of the local bookies, he’s already a star. Paul’s problems are many, but as Norman points out, with a fishing lure, he’s an artist.

Fishing ties these boys together. Their Reverend father's (Tom Skerritt) fishing lessons teaches them the discipline to carry on in the face adversity. It keeps them grounded and gives the film rhythm. Shots of the characters tracking and luring the fish slow things efficiently, allowing the audience a chance to breathe. Redford wants his film internalized, and these scenes create moments of serenity and reflection.

Redford succeeds at matching his thoughtful story to his contemplative image. Philippe Rousselot's Oscar-winning photography creates an aura of nostalgia that surrounds the serene Montana plains. Likewise, Norman’s poetic narration add to the dream-like tone of the film, while the cast’s complex performances turn that dream into a reality.

“A River Runs Through It” is a slow film. But during its quiet lurch, the film gives the viewer a chance to reflect and relate. Redford puts their life to film and does so with a gracefulness most directors only dream of.

Grade: B+

“It’s Kind of a Funny Story”

DVD, Blu-Ray Movie Review

Directed by Anna Boden and Ryan Fleck. Written by Anna Boden and Ryan Fleck, Nev Vizzini (novel), 101 minutes, Rated PG-13.

By our guest blogger, Matthew Schimkowitz

All movies have characters. Other movies have character. The dramedy “It’s Kind of a Funny Story,” has the former. Filled to the brim with rounded, interesting people, “Funny Story” develops its impressive screenplay in a bland, roundabout way, which displays the mental instability of its cast, but never expresses it. Trapped in a quirky, sardonic shell, the film explains the characters’ problems, yet lacks any emotional catharsis or personality.

Unable to handle the pressures of teenage life and fearing that he might kill himself, Craig (Kei Gilchrist) checks into the hospital. For Craig, school is too much, girls are too much, and parents are too much--so he pleads with his doctor to do something fast. With no other options, Craig is committed into the adult psychiatric ward of the hospital for one week of observation and treatment.

There, he meets Bobby (Zach Galifianakis), a depressed, middle-aged man who’s undergoing a similar experience to Craig -- he feels alone, scared and is suicidal. Bobby helps Craig along in his treatment, holding a figurative mirror to his problems. Craig’s interactions with people like Bobby teach him about depression and what it takes to overcome it.

“It’s Kind of a Funny Story” has moments of compassion and sensitivity. Zach Galifianakis puts away his typical, aloof persona for a role that is nurturing and complicated. He reveals himself to Craig in unexpected ways, keeping things decidedly subtle. Working from Boden and Fleck's screenplay, the actor avoids cheap jokes at the patients’ expense.

Bobby’s caring nature compliments Craig's growth. Craig undergoes significant changes throughout the film, and this evolution comes slowly but logically. Boden and Fleck fully realize the character, adding layers of complexity, but deny him emotional climax.

While the cast keeps things comfortable, the directing team embellishes frequently and never to the film’s benefit. Their forays into animation, hallucination and dream don’t fully express the emotional states of the characters and do a disservice to the more than capable cast. The film's experimental side interrupts any opportunity actors have of expressing complicated emotions.

“It’s Kind of a Funny Story” focuses almost entirely on Craig and spends most of that time telling us what he’s feeling. However, those emotions are rarely expressed in a visceral way. Instead, the film goes for a more artful approach that never hits home in the way that the directors hope.

Grade: B-

“It’s Kind of a Funny Story”

DVD, Blu-Ray Movie Review

Directed by Anna Boden and Ryan Fleck. Written by Anna Boden and Ryan Fleck, Nev Vizzini (novel), 101 minutes, Rated PG-13.

By our guest blogger, Matthew Schimkowitz

All movies have characters. Other movies have character. The dramedy “It’s Kind of a Funny Story,” has the former. Filled to the brim with rounded, interesting people, “Funny Story” develops its impressive screenplay in a bland, roundabout way, which displays the mental instability of its cast, but never expresses it. Trapped in a quirky, sardonic shell, the film explains the characters’ problems, yet lacks any emotional catharsis or personality.

Unable to handle the pressures of teenage life and fearing that he might kill himself, Craig (Kei Gilchrist) checks into the hospital. For Craig, school is too much, girls are too much, and parents are too much--so he pleads with his doctor to do something fast. With no other options, Craig is committed into the adult psychiatric ward of the hospital for one week of observation and treatment.

There, he meets Bobby (Zach Galifianakis), a depressed, middle-aged man who’s undergoing a similar experience to Craig -- he feels alone, scared and is suicidal. Bobby helps Craig along in his treatment, holding a figurative mirror to his problems. Craig’s interactions with people like Bobby teach him about depression and what it takes to overcome it.

“It’s Kind of a Funny Story” has moments of compassion and sensitivity. Zach Galifianakis puts away his typical, aloof persona for a role that is nurturing and complicated. He reveals himself to Craig in unexpected ways, keeping things decidedly subtle. Working from Boden and Fleck's screenplay, the actor avoids cheap jokes at the patients’ expense.

Bobby’s caring nature compliments Craig's growth. Craig undergoes significant changes throughout the film, and this evolution comes slowly but logically. Boden and Fleck fully realize the character, adding layers of complexity, but deny him emotional climax.

While the cast keeps things comfortable, the directing team embellishes frequently and never to the film’s benefit. Their forays into animation, hallucination and dream don’t fully express the emotional states of the characters and do a disservice to the more than capable cast. The film's experimental side interrupts any opportunity actors have of expressing complicated emotions.

“It’s Kind of a Funny Story” focuses almost entirely on Craig and spends most of that time telling us what he’s feeling. However, those emotions are rarely expressed in a visceral way. Instead, the film goes for a more artful approach that never hits home in the way that the directors hope.

Grade: B-

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"Network"

DVD, Blu-Ray Movie Review

Directed by Sidney Lumet, Written by Paddy Chayefsky, 121 minutes, Rated R.

By our guest blogger, Matthew Schimkowitz

Ever wonder what an episode of Mary Tyler Moore might look like had it been written by Kurt Vonnegut? Well, look no further than "Network." Just out on Blu-ray disc, director Sidney Lumet's satire about a failing television station leaves no stone unturned, tearing into the stars, the executives, and the audience with a sharp comic edge and a dark sense of humor.

"Network" is about a failing television station called UBS. More specifically, it chronicles the consequences of having lousy ratings. No one learns this lesson more so than longtime news anchor Howard Beale (Peter Finch), who after 15 years behind the desk is cast out from the network in lieu of more contemporary programming. Mad as hell and not going to take it anymore, Howard hijacks the camera during his final broadcast and vents about the grotesque state of humanity and actually makes a connection with the audience.

The rest of the network is flabbergasted, save for the new station programmer Diana Christensen (Faye Dunaway). Diana spent the better part of her time at UBS searching out angry television. With the country in the heart of a recession and the dream of the '60s dead, she’s sees a demand for volatile shows that channel this rage--and Howard Beale becomes her poster child.

Things escalate quickly as Howard becomes the host of his own televangelist talk show. Howard's close friend and longtime partner, Max (William Holden), watches in horror as the show leads to the downfall of the news department, a cult-like viewership, television show's developed by political radicals and terrorist organizations, and the decline of the American family unit.

"Network" is a product of the sum of its parts. The snappy script rattles-off jokes and call-backs with ease. The cast plays along, making sure the audience never misses a moment of just how stupid everything at the network actually is. Finally, Lumet's directing keeps things feeling lighthearted -- even when the subject matter is darkly insulting. Lumet reduces those in the business to sniveling money grubbers and raving lunatics, and the audience -- brainless sheep, willing to eat up anything the executives feed them.

For all of its strange idiosyncrasies, "Network" remains sharply satirical with a keen eye for detail. It's easy to get wrapped up in these people's lives, even if, as Max so appropriately points out, they act as if they're reading from a script. "Network" has little respect for the phony television generation, and through its scathing perception of it, it's easy to understand why.

Grade: A

"Network"

DVD, Blu-Ray Movie Review

Directed by Sidney Lumet, Written by Paddy Chayefsky, 121 minutes, Rated R.

By our guest blogger, Matthew Schimkowitz

Ever wonder what an episode of Mary Tyler Moore might look like had it been written by Kurt Vonnegut? Well, look no further than "Network." Just out on Blu-ray disc, director Sidney Lumet's satire about a failing television station leaves no stone unturned, tearing into the stars, the executives, and the audience with a sharp comic edge and a dark sense of humor.

"Network" is about a failing television station called UBS. More specifically, it chronicles the consequences of having lousy ratings. No one learns this lesson more so than longtime news anchor Howard Beale (Peter Finch), who after 15 years behind the desk is cast out from the network in lieu of more contemporary programming. Mad as hell and not going to take it anymore, Howard hijacks the camera during his final broadcast and vents about the grotesque state of humanity and actually makes a connection with the audience.

The rest of the network is flabbergasted, save for the new station programmer Diana Christensen (Faye Dunaway). Diana spent the better part of her time at UBS searching out angry television. With the country in the heart of a recession and the dream of the '60s dead, she’s sees a demand for volatile shows that channel this rage--and Howard Beale becomes her poster child.

Things escalate quickly as Howard becomes the host of his own televangelist talk show. Howard's close friend and longtime partner, Max (William Holden), watches in horror as the show leads to the downfall of the news department, a cult-like viewership, television show's developed by political radicals and terrorist organizations, and the decline of the American family unit.

"Network" is a product of the sum of its parts. The snappy script rattles-off jokes and call-backs with ease. The cast plays along, making sure the audience never misses a moment of just how stupid everything at the network actually is. Finally, Lumet's directing keeps things feeling lighthearted -- even when the subject matter is darkly insulting. Lumet reduces those in the business to sniveling money grubbers and raving lunatics, and the audience -- brainless sheep, willing to eat up anything the executives feed them.

For all of its strange idiosyncrasies, "Network" remains sharply satirical with a keen eye for detail. It's easy to get wrapped up in these people's lives, even if, as Max so appropriately points out, they act as if they're reading from a script. "Network" has little respect for the phony television generation, and through its scathing perception of it, it's easy to understand why.

Grade: A

"Dead Man Walking"

DVD, Blu-Ray Movie Review

Directed by Tim Robbins, Written by Tim Robbins and Helen Prejean (novel), 122-minutes, Rated R.

By our guest blogger, Matthew Schimkowitz

Director Tim Robbins had the noblest intentions with "Dead Man Walking," just out on Blu-ray disc, and to his credit, he does present a well-rounded look at the death penalty debate. Using an impartial religious figure as his center, Robbins paints a full picture of the argument -- it just isn't a very colorful one.

Sister Helen Prejean (Susan Sarandon) finds herself in a difficult situation when she spiritually guides death row inmate Matthew Poncelet (Sean Penn). Sentenced to death for the rape and murder of two teenagers, Matthew wins Helen's affection through his rough upbringing, which bred him into an incorrigible racist.

Seeing the value in all life and the hypocrisy of Mosaic Law, as well as the power of redemption, Sister Helen helps Matthew -- much to the disdain of the victims' families. In turn, Helen meets with the family and learns of the results of Matthew's crimes, complicating her choice to help him.

Robbins’ film objectivity plays like "In Cold Blood"-lite. Truman Capote's true crime epic presented a complete look at a dreadful crime, with a clear eye on both sides--and while retaining a neutral narrator. The author's diligence allowed the reader into the lives of the killers, the victims and those on the outside, thus making the crime unbearable to read.

"Dead Man Walking" tries something similar, but it doesn't allow us to meet the victims. We see the killer and the surviving family. However, Robbins omission of the murdered teens makes it hard to get a full picture. He shows us their murder, but he denies us the opportunity to see them truly alive. Matthew's crime never completely fleshes out and, as such, it loses some of its emotional resonance.

Penn does a remarkable job making the easy-to-hate Poncelet, a complex and sympathetic character. His interactions with Sarandon shift from hostile to comforting quickly, making their relationship understandable, even if it seems confusing at first. Robbins wants the audience to remain level headed when approaching Poncelet, so Penn creates a man out of a monster.

"Dead Man Walking" is a complicated film. It’s provocative, well acted and intelligent. Yet the hole left by the absent victims makes the film feel incomplete, with Robbins' objectivity acting as a strength and a weakness.

Grade: B+

"Dead Man Walking"

DVD, Blu-Ray Movie Review

Directed by Tim Robbins, Written by Tim Robbins and Helen Prejean (novel), 122-minutes, Rated R.

By our guest blogger, Matthew Schimkowitz

Director Tim Robbins had the noblest intentions with "Dead Man Walking," just out on Blu-ray disc, and to his credit, he does present a well-rounded look at the death penalty debate. Using an impartial religious figure as his center, Robbins paints a full picture of the argument -- it just isn't a very colorful one.

Sister Helen Prejean (Susan Sarandon) finds herself in a difficult situation when she spiritually guides death row inmate Matthew Poncelet (Sean Penn). Sentenced to death for the rape and murder of two teenagers, Matthew wins Helen's affection through his rough upbringing, which bred him into an incorrigible racist.

Seeing the value in all life and the hypocrisy of Mosaic Law, as well as the power of redemption, Sister Helen helps Matthew -- much to the disdain of the victims' families. In turn, Helen meets with the family and learns of the results of Matthew's crimes, complicating her choice to help him.

Robbins’ film objectivity plays like "In Cold Blood"-lite. Truman Capote's true crime epic presented a complete look at a dreadful crime, with a clear eye on both sides--and while retaining a neutral narrator. The author's diligence allowed the reader into the lives of the killers, the victims and those on the outside, thus making the crime unbearable to read.

"Dead Man Walking" tries something similar, but it doesn't allow us to meet the victims. We see the killer and the surviving family. However, Robbins omission of the murdered teens makes it hard to get a full picture. He shows us their murder, but he denies us the opportunity to see them truly alive. Matthew's crime never completely fleshes out and, as such, it loses some of its emotional resonance.

Penn does a remarkable job making the easy-to-hate Poncelet, a complex and sympathetic character. His interactions with Sarandon shift from hostile to comforting quickly, making their relationship understandable, even if it seems confusing at first. Robbins wants the audience to remain level headed when approaching Poncelet, so Penn creates a man out of a monster.

"Dead Man Walking" is a complicated film. It’s provocative, well acted and intelligent. Yet the hole left by the absent victims makes the film feel incomplete, with Robbins' objectivity acting as a strength and a weakness.

Grade: B+

“Thelma and Louise” DVD, Blu-Ray Movie Review

Directed by Ridley Scott, Written by Calli Khouri, 130 minutes, Rated R.

By our guest blogger, Matt Schimowitz

In the Schwarzenegger-dominated early-'90s, “Thelma and Louise,” now available on Blu-ray, was a breath of fresh air. Pushing aside the machismo-driven alpha males of the previous decade’s action movies, “Thelma and Louise” breaks the genre’s patriarchal grip in a film that shows women reclaiming their lives. Director Ridley Scott doesn’t stand in their way, as Thelma and Louise outrun their male oppressors and strike out on their own.

Setting off on a weekend fishing trip to escape their jobs and vulgar suitors, a sharp waitress and a timid housewife named Thelma and Louise (Susanne Sarandon and Geena Davis) stop at a honky-tonk for a drink and a dance. After a couple rounds, Thelma goes outside with a local cowboy who then tries to rape her. Just in time, Louise appears and shoots the cowboy dead. Fearing the law, the two head towards Mexico--and get deeper into trouble.

Unlike the loner John Wayne, relationships define Thelma and Louise both in their problems and solutions. Calli Khouri’s screenplay drives them in their Thunderbird across the southwest, encountering a hostile patriarchy. The men in their lives reflect different attitudes towards women, whether they are authoritative (Harvey Keitel’s FBI agent), chauvinistic (Michael MacDonald’s Darryl, Thelma’s horrid husband), or loving (Michael Madsen’s supportive Jimmy). These dealings typify their journey, while helping them grow.

These men fill their role in the plot, but this is really the Sarandon and Davis show. Both work well off each other as they travel along markedly different paths. Thelma, the sheltered, passive housewife, comes into her own on screen – letting her hair down and discovering a knack for armed robbery. Louise, on the other hand, nearly comes apart at the seams. Sarandon plays the role as a quick-thinking outlaw, but as things progress, this subsides and makes way for a panic that only Thelma can cure.

After a decade of being a damsel in distress or a man in a dress, Scott puts femininity in the driver’s seat as “Thelma and Louise” shows strong women retaining their womanhood. For a decade that began in a sea of rippling male biceps and over-the-top explosions, “Thelma and Louise”’s forward drive and dynamic characters make for a change of pace but one that’s just as exciting.

Grade: A-

“Thelma and Louise” DVD, Blu-Ray Movie Review

Directed by Ridley Scott, Written by Calli Khouri, 130 minutes, Rated R.

By our guest blogger, Matt Schimowitz

In the Schwarzenegger-dominated early-'90s, “Thelma and Louise,” now available on Blu-ray, was a breath of fresh air. Pushing aside the machismo-driven alpha males of the previous decade’s action movies, “Thelma and Louise” breaks the genre’s patriarchal grip in a film that shows women reclaiming their lives. Director Ridley Scott doesn’t stand in their way, as Thelma and Louise outrun their male oppressors and strike out on their own.

Setting off on a weekend fishing trip to escape their jobs and vulgar suitors, a sharp waitress and a timid housewife named Thelma and Louise (Susanne Sarandon and Geena Davis) stop at a honky-tonk for a drink and a dance. After a couple rounds, Thelma goes outside with a local cowboy who then tries to rape her. Just in time, Louise appears and shoots the cowboy dead. Fearing the law, the two head towards Mexico--and get deeper into trouble.

Unlike the loner John Wayne, relationships define Thelma and Louise both in their problems and solutions. Calli Khouri’s screenplay drives them in their Thunderbird across the southwest, encountering a hostile patriarchy. The men in their lives reflect different attitudes towards women, whether they are authoritative (Harvey Keitel’s FBI agent), chauvinistic (Michael MacDonald’s Darryl, Thelma’s horrid husband), or loving (Michael Madsen’s supportive Jimmy). These dealings typify their journey, while helping them grow.

These men fill their role in the plot, but this is really the Sarandon and Davis show. Both work well off each other as they travel along markedly different paths. Thelma, the sheltered, passive housewife, comes into her own on screen – letting her hair down and discovering a knack for armed robbery. Louise, on the other hand, nearly comes apart at the seams. Sarandon plays the role as a quick-thinking outlaw, but as things progress, this subsides and makes way for a panic that only Thelma can cure.

After a decade of being a damsel in distress or a man in a dress, Scott puts femininity in the driver’s seat as “Thelma and Louise” shows strong women retaining their womanhood. For a decade that began in a sea of rippling male biceps and over-the-top explosions, “Thelma and Louise”’s forward drive and dynamic characters make for a change of pace but one that’s just as exciting.

Grade: A-

"The Resident"

DVD, Blu-ray Movie Review

Directed by Antti Jokinen, written by Antti Jokinen, Robert Orr and Erin Cressida Wilson, 91 minutes, rated R.

By our guest blogger, Nick Hanover.

It makes perfect sense that "The Resident" is Antti Jokinen's first film after a long career making music videos for the likes of Korn and Celine Dion. What doesn't make so much sense is how he managed to trick such an otherwise talented cast into appearing in this dreck.

"The Resident" is your typical, dull psychological thriller/horror film--hints are dropped often and early about our antagonist, the protagonist is a seemingly weak-willed, maternal young woman and everything is exactly as it seems. The gist is that Max (Jeffrey Dean Morgan) and his grandfather, August (Christopher Lee), own a beautiful old apartment building that is in the midst of renovation and therefore, they're offering leases that are literally too good to be true.

Enter Hilary Swank as Dr. Juliet Dermer, a young woman who's fresh out of a long relationship with a guy who cheated on her because she worked too much. In case you didn't know this was a horror film, Dr. Julie likes to explicitly mention to anyone who will listen that she got a deal that was "too good to be true" on her new loft. You know, as if there was some kind of catch to getting a Brooklyn loft with a terrific view for a little under $4000 a month. A catch like, say, a psychotic landlord. Hint hint, nudge nudge.

And since this is Hollywood and no mainstream movie is complete without a romantic angle, Swank's particular psychotic landlord has a crush on her and she at first has a crush on him and for a brief moment it looks like they'll get together. Instead, Swank goes back to her whiny ex who, amazingly, also happens to have been stalking her. There's even a little side story where grandpa August is into Dr. Julie and buys her things and awkwardly hits on her. Because Jokinen thinks we viewers are total idiots, he even tries to trick us into thinking August is the one who's actually sneaking around in Dr. Julie's room at night without her knowledge.

Which, really, would have been a little more interesting. Imagine: this outwardly harmless but still slightly creepy old man, played by Christopher Lee, of course, has been spying on his hot female tenants all these years, building a maze-like infrastructure that doubles as a voyeur's paradise and maybe he's taken his grandson in as his apprentice, so that a new creepy old man can inherit the building. It'd be both lovable and unsettling, a family film if you're family happens to be full of creepy old voyeurs.

Instead, "The Resident" is as dull as an old knife--and half as effective. Jokinen has created a film that's pretty but lifeless, with all the subtlety and tension of a Lifetime original movie and none of the hilarity. Its message seems to be that men are bad, sure, but women are stupid and deserve to be ogled and groped and maybe even raped once or twice for loving them. Morgan in particular gets stuck with a role far below his skillset, though he tries his best to inject it with a little something something. Swank is her usual wooden self and Lee's role is far too minimal for him to even begin to reward us with some scenery chewing. "The Resident" is so bad it's just bad, with none of the camp shenanigans or accidental hilarity you find in movies that are outright fiascos.

If all is right in the universe, the only good that will come out of "The Resident" is its murder of Jokinen's career before it even starts.

Grade: D

The film (*cough*) didn't receive a theatrical release in the States.  Instead, it's being released solely on DVD/Blu-ray on March 29, 2011.

"The Resident"

DVD, Blu-ray Movie Review

Directed by Antti Jokinen, written by Antti Jokinen, Robert Orr and Erin Cressida Wilson, 91 minutes, rated R.

By our guest blogger, Nick Hanover.

It makes perfect sense that "The Resident" is Antti Jokinen's first film after a long career making music videos for the likes of Korn and Celine Dion. What doesn't make so much sense is how he managed to trick such an otherwise talented cast into appearing in this dreck.

"The Resident" is your typical, dull psychological thriller/horror film--hints are dropped often and early about our antagonist, the protagonist is a seemingly weak-willed, maternal young woman and everything is exactly as it seems. The gist is that Max (Jeffrey Dean Morgan) and his grandfather, August (Christopher Lee), own a beautiful old apartment building that is in the midst of renovation and therefore, they're offering leases that are literally too good to be true.

Enter Hilary Swank as Dr. Juliet Dermer, a young woman who's fresh out of a long relationship with a guy who cheated on her because she worked too much. In case you didn't know this was a horror film, Dr. Julie likes to explicitly mention to anyone who will listen that she got a deal that was "too good to be true" on her new loft. You know, as if there was some kind of catch to getting a Brooklyn loft with a terrific view for a little under $4000 a month. A catch like, say, a psychotic landlord. Hint hint, nudge nudge.

And since this is Hollywood and no mainstream movie is complete without a romantic angle, Swank's particular psychotic landlord has a crush on her and she at first has a crush on him and for a brief moment it looks like they'll get together. Instead, Swank goes back to her whiny ex who, amazingly, also happens to have been stalking her. There's even a little side story where grandpa August is into Dr. Julie and buys her things and awkwardly hits on her. Because Jokinen thinks we viewers are total idiots, he even tries to trick us into thinking August is the one who's actually sneaking around in Dr. Julie's room at night without her knowledge.

Which, really, would have been a little more interesting. Imagine: this outwardly harmless but still slightly creepy old man, played by Christopher Lee, of course, has been spying on his hot female tenants all these years, building a maze-like infrastructure that doubles as a voyeur's paradise and maybe he's taken his grandson in as his apprentice, so that a new creepy old man can inherit the building. It'd be both lovable and unsettling, a family film if you're family happens to be full of creepy old voyeurs.

Instead, "The Resident" is as dull as an old knife--and half as effective. Jokinen has created a film that's pretty but lifeless, with all the subtlety and tension of a Lifetime original movie and none of the hilarity. Its message seems to be that men are bad, sure, but women are stupid and deserve to be ogled and groped and maybe even raped once or twice for loving them. Morgan in particular gets stuck with a role far below his skillset, though he tries his best to inject it with a little something something. Swank is her usual wooden self and Lee's role is far too minimal for him to even begin to reward us with some scenery chewing. "The Resident" is so bad it's just bad, with none of the camp shenanigans or accidental hilarity you find in movies that are outright fiascos.

If all is right in the universe, the only good that will come out of "The Resident" is its murder of Jokinen's career before it even starts.

Grade: D

The film (*cough*) didn't receive a theatrical release in the States.  Instead, it's being released solely on DVD/Blu-ray on March 29, 2011.