DVD & Blue Ray Archive for April, 2012

The DVD Wrapup: Contraband, Camelot, Return, Young Goethe, Innkeepers, Hollis Frampton … More

Like JFK’s legacy, the movie version of “Camelot” hasn’t aged well in the succeeding nearly 50 years. In fact, after knocking ’em dead on Broadway in the early 1960s, the movie version failed to overwhelm Oscar voters or attract nearly the same number of fans as “My Fair Lady.”

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Wilmington on DVDs. Godzilla

I’ve never visited Japan, and probably I never will. But if I get there, I know I’ll dream of seeing several things, all of which, to me, signify “Japanese cinema“ and “Japan.” A furious Kurosawa swordfight caught by three cameras. Two Ozu characters sitting on tatami mats, musing on the sadness of life. A geisha or wife suffering while Mizoguchi’s camera tracks slowly and beautifully around her. Something tragic or transgressive caught lucidly by Ichikawa or Imamura. And, rising up from the ocean, while the sun sets, Honda’s Godzilla (excuse me, Gojira), staring toward Tokyo and licking his chops.

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Wilmington on DVDs. The Innkeepers

Ti West’s movie is loaded with seedy atmosphere and cracked wacko personality, and I much preferred it to the over-expensive blood-drenched massacres they usually give us. Paxton’s Claire and Healy’s Luke are engagingly scarable protagonists. The cellar is a doozy.

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The DVD Wrapup: Ghost Protocol, Shame, Last Rites of Joe May… More

Even if “Shame” doesn’t offer many answers and fewer resolutions, it can’t be said that we don’t know these people after 101 minutes in their presence. It feels like a fully realized short story or novella. The acting is terrific and McQueen’s direction delivers a real punch. It’s not an easy movie to watch, though, so viewers not looking for a challenge may want to think twice before renting it.

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Wilmington on DVDs. A Streetcar Named Desire

The young Adonis-like Brando was the actor whom critics and Britons believed would be the American stage and screen’s great Hamlet. (But he never even tried.) He was the player for whom Tennessee Williams wrote play after play year after year. (But Brando turned them all down, except for the Sidney Lumet movie of “Orpheus Descending,” retitled “The Fugitive Kind)”.

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Wilmington on DVDs. Shame

I can’t recall a single smile crossing Brandon’s mouth, or a single joke passing his lips (if there were, they were lonely), or much tenderness at all, during the course of the movie.

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Wilmington on DVDs. Mission Impossible: Ghost Protocol

This is the best action movie out this year not just because it has the best action, but because the characters are interesting too.

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DVD Geek: The Magnificent Ambersons

Exactly 15 years after DVDs were introduced to the home video market place, Warner Home Video has finally released the last significantly important, classic motion picture in the format, “The Magnificent Ambersons,” and like the opinions of the townspeople on the fates of the characters at the end of the film, no one cares.

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The DVD Wrapup: Iron Lady, Conquest, Sleeping Beauty, Streetcar, Dark Shadows … More

In the mid-’60s, the demographics of daytime TV were significantly different than those associated with prime-time sitcoms. Fewer women worked in full-time jobs and they tended to control buying patterns at the supermarket. Romance in the afternoon was blooming and it didn’t include fangs and capes. Even so, Dan Curtis’ brainstorm would enjoy a six-year run, thanks, in large part, to support from teenagers who rushed home from school – or, so we’re told – to enjoy the kinky storylines and handsome undead characters. “Dark Shadows” was as different from “The Guiding Light” and “The Days of Our Lives” as “American Bandstand” was to “Lawrence Welk.”

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Wilmington on DVDs. Casablanca

You think Michael Curtiz is a hack? It‘s only because he made so many movies. But his list of hundreds includes two or three dozen genuine classics. And the other several hundred aren’t bad either. In fact, director-movie-lover Rainer Werner Fassbinder ranked Curtiz at the top of his list, next to Luchino Visconti and Douglas Sirk.

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Wilmington on DVDs. A Trip to the Moon; Melies, First Wizard of Cinema (1896-1913)

Méliès’ great little show was first released in the black-and-white prints most of us know, but also in an original hand-tinted color version that was missing for nearly a century. But that second version, discovered in a Spanish film library in 1995, has now been definitively restored in colors as radiant and luscious as ice cream melting in a silver tureen.

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Wilmington on DVDs. We Bought a Zoo, No Man of Her Own

If only “We Bought a Zoo” could do for zoos what “Sideways” did for wine, we’d all be in clover and up to our knees in humane enclosures. Although I’m a big fan of zoos myself (especially San Diego’s and the giraffe and bear enclosures at the Lincoln Park Zoo) and though this is a likable movie, full of likable people, and likable animals and though star Matt Damon is a very paragon of likeability, the movie just vanishes out of your mind (or mine at least) after you leave.

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Wilmington on DVDs. Pick of the Week: New. War Horse.

The script of “War Horse,” a heart-crusher, is rife with coincidence, pulsing with melodrama. Violence and tragedy are often close to overwhelming it. But it’s also a good story, an often gripping one.

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The DVD Wrapup: War Horse, Zoo, Miss Bala, Chinatown, Tyrannosaur…

Gerardo Naranjo’s “Miss Bala” describes how weird things can get when the trajectories of a violent drug gang and contestants in a beauty pageant cross paths in Tijuana, one of the world’s most dangerous cities. “Miss Bala” is an extremely violent movie, as befits the times in Mexico’s drug war, but Lino’s determination to give Laura her shot at stardom borders on the hilarious. By the time she gets to the interview stage, Laura can barely remember her name. Naranjo uses Tijuana as well as Steven Soderbergh did in “Traffic” and the cruelty of the perpetrators of the violence is palpable throughout the movie.

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DVD Geek: My Week With Marilyn

First, you have to see “The Prince and the Showgirl.” It is a film that will continually make you smile. Its story is cute and its cast is legendary. Then you watch “My Week with Marilyn” … The 2011 film is not about dishing dirt on the production. It is, rather, and in some ways very much like “The Prince and the Showgirl,” about the ephemeral nature of love.

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DVD & Blue Ray

https://bestwatches.club/ on: The DVD Wrapup: Diamonds of the Night, School of Life, Red Room, Witch/Hagazussa, Tito & the Birds, Keoma, Andre’s Gospel, Noir

Gary Dretzka on: The DVD Wrapup: Sleep With Anger, Ralph Wrecks Internet, Liz & Blue Bird, Hannah Grace, Unseen, Jupiter's Moon, Legally Blonde, Willard, Bang … More

Gary Dretzka on: The DVD Wrapup: Bumblebee, Ginsburg, Buster, Silent Voice, Nazi Junkies, Prisoner, Golden Vampires, Highway Rat, Terra Formars, No Alternative … More

GDA on: The DVD Wrapup: Bumblebee, Ginsburg, Buster, Silent Voice, Nazi Junkies, Prisoner, Golden Vampires, Highway Rat, Terra Formars, No Alternative … More

Larry K on: The DVD Wrapup: Sleep With Anger, Ralph Wrecks Internet, Liz & Blue Bird, Hannah Grace, Unseen, Jupiter's Moon, Legally Blonde, Willard, Bang … More

Gary Dretzka on: The DVD Wrapup: Shoplifters, Front Runner, Nobody’s Fool, Peppermint Soda, Haunted Hospital, Valentine, Possum, Mermaid, Guilty, Antonio Lopez, 4 Weddings … More

gwehan on: The DVD Wrapup: Shoplifters, Front Runner, Nobody’s Fool, Peppermint Soda, Haunted Hospital, Valentine, Possum, Mermaid, Guilty, Antonio Lopez, 4 Weddings … More

Gary J Dretzka on: The DVD Wrapup: Peppermint, Wild Boys, Un Traductor, Await Instructions, Lizzie, Coby, Afghan Love Story, Elizabeth Harvest, Brutal, Holiday Horror, Sound & Fury … More

Gary J Dretzka on: The DVD Wrapup & Gift Guide III: Venom 4K, The Super, Snowflake, Marie Curie, Gamechangers, Who We Are Now, 40 Guns, De Palma-De Niro,, Starman and more

aniban83 on: The DVD Wrapup & Gift Guide III: Venom 4K, The Super, Snowflake, Marie Curie, Gamechangers, Who We Are Now, 40 Guns, De Palma-De Niro,, Starman and more

Quote Unquotesee all »

“The important thing is: what makes the audience interested in it? Of course, I don’t take on any roles that don’t interest me, or where I can’t find anything for myself in it. But I don’t like talking about that. If you go into a restaurant and you have been served an exquisite meal, you don’t need to know how the chef felt, or when he chose the vegetables on the market. I always feel a little like I would pull the rug out from under myself if I were to I speak about the background of my work. My explanations would come into conflict with the reason a movie is made in the first place — for the experience of the audience — and that, I would not want.
~  Christoph Waltz

This is probably going to sound petty, but Martin Scorsese insisting that critics see his film in theaters even though it’s going straight to Netflix and then not screening it in most American cities was a watershed moment for me in this theatrical versus streaming debate.

I completely respect when a filmmaker insists that their movie is meant to be seen in the theater, but the thing is, you got to actually make it possible to see it in the theater. Some movies may be too small for that, and that’s totally OK.

When your movie is largely financed by a streaming service and is going to appear on that streaming service instantly, I don’t really see the point of pretending that it’s a theatrical film. It just seems like we are needlessly indulging some kind of personal fantasy.

I don’t think that making a feature film length production that is going to go straight to a video platform is some sort of “step down.“ I really don’t. Theatrical exhibition as we know it is dying off anyway, for a variety of reasons.

I should clarify myself because this thread is already being misconstrued — I’m talking about how the movie is screened in advance. If it’s going straight to Netflix, why the ritual of demanding people see it in the theater?

There used to be a category that everyone recognized called “TV movie” or “made for television movie” and even though a lot of filmmakers considered that déclassé, it seems to me that probably 90% of feature films fit that description now.

Atlantis has mostly sunk into the ocean, only a few tower spires remain above the waterline, and I’m increasingly at peace with that, because it seems to be what the industry and much of the audience wants. We live in an age of convenience and information control.

Only a very elite group of filmmakers is still allowed to make movies “for theaters“ and actually have them seen and judged that way on a wide scale. Even platform releasing seems to be somewhat endangered. It can’t be fought. It has to be accepted.

9. Addendum: I’ve been informed that it wasn’t Scorsese who requested that the Bob Dylan documentary only be screened for critics in theaters, but a Netflix representative indicated the opposite to me, so I just don’t know what to believe.

It’s actually OK if your film is not eligible for an Oscar — we have a thing called the Emmys. A lot of this anxiety is just a holdover from the days when television was considered culturally inferior to theatrical feature films. Everybody needs to just get over it.

In another 10 to 20 years they’re probably going to merge the Emmys in the Oscars into one program anyway, maybe they’ll call it the Contentys.