DVD & Blue Ray Archive for October, 2016

The DVD Wrapup: Hunt for Wilderpeople, Skiptrace, Nerve, Vampire Ecstasy, Gored, Dark Water, The Id, Norman Lear and more

I’ve complained before about the lack of attention given to uniquely entertaining indie movies by distributors, even after being greeted with near-unanimous approval by audiences and critics at festivals. Indulge me while I endorse another film that has broad audience appeal but could easily get lost in the VOD-DVD shuffle. Set in a supremely scenic corner of Peter Jackson’s backyard (a.k.a., New Zealand), Taika Waititi’s coming-of-age Hunt for the Wilderpeople follows a state-raised Maori boy who’s nearly run out of options when it comes to being taken in by foster families and non-penal shelters for abandoned kids. Rotund, lazy and belligerent, Ricky (Julian Dennison) is handed over to a middle-age couple living on the edge of the “bush” – a term not at all representative of the environmentally diverse Tongariro National Park – at the center of the country’s North Island. If Waititi’s name sounds familiar, it’s for his peculiarly Kiwi entertainments as Eagle vs. Shark, “Flight of the Conchords” and What We Do in the Shadows. He’ll get his shot in the Major Leagues with – surprise! – the next chapter in the comic-book epic, “Thor: Ragnarok.” Let’s hope he doesn’t lose sight of the little picture.

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The DVD Wrapup: Through the Looking Glass, Café Society, Our Kind of Terror, Buying Democracy and more

If, as was the case in the 1970-80s, such writers and directors as Paul Mazursky, Michael Ritchie, Neil Simon, Herbert Ross, Elaine May, Nora Ephron, Mike Nichols, Francis Veber, and Larry Gelbart were still competing for the same adult audiences, Woody Allen wouldn’t stand so alone in the American filmmaking firmament. Neither would his detractors feel as if they have to make excuses for buying tickets to see his annual film.

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DVD Geek: Medium Cool

In 1968, it was clear that something would happen on the streets of Chicago during the Democratic National Convention. With Medium Cool, Haskell Wexler and his collaborators assembled a viable romantic story, a Cinderella Liberty tale where a news cameraman (Robert Forster), chases after a kid who steals his bag then winds up falling for the kid’s hardworking but struggling mother (Verna Bloom). But, along with sending his character to pre-Convention events, Wexler also got Forster press credentials and into Chicago’s International Amphitheatre as rules votes and other events were unfolding at the Convention. Although it makes me wince, Wexler also put Bloom onto the streets as cops were attacking protesters.

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The DVD Wrapup: Infiltrator, Blood Father, Violent Cop, Sherpa, Les Cowboys, Hills Have Eyes and more

If it weren’t for the likelihood that American audiences already know as much about Pablo Escobar and the Medellín Cartel as they’ll ever care to learn, Brad Furman’s compelling drug-war drama, The Infiltrator, might have managed to break even at the box office. Instead, fine performances by Bryan Cranston (“Breaking Bad”) and Diane Kruger (“The Bridge”), as undercover U.S. Customs agents Robert Mazur and Kathy Ertz, will pretty much go for naught.

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DVD Geek: Walking Dead Season Six

“The Walking Dead” zombies probably should be identified as “classic Romero zombies.” The drama is compelling because it uses a fantasy horror premise to magnify human conflicts and emotions that otherwise could not be so readily highlighted. And to this invigorating drama, there is the constant suspense of a zombie attack. You never know where or when it is going to happen

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The DVD Wrapup: Innocents, Swiss Army Man, Purge: Election Year, Diary of a Chambermaid, The Wailing, Homestretch and more

The silence and shame that accompanies the infant’s birth would suggest that the nun had been impregnated by the devil – or, perhaps, the Holy Ghost — and no word of it should leave the convent’s walls.

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DVD Geek: Johnny Guitar

Dispensing with archetypes that populated so many westerns, Nicholas Ray’s memorable 1954 Republic Pictures production, Johnny Guitar, released as an impressive Olive Signature Blu-ray is filled with vivid, unpredictable characters.

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DVD Geek: Batman v Superman: The Dawn of Justice Ultimate

The theatrical version runs 151 minutes, while the Ultimate Edition runs 183 minutes. The additional footage brings more to the story adding action (and violence—Ultimate Edition was changed from ‘PG-13’ to ‘R’), and creating a better balance for the film’s pace.

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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.