How Do You Know (2010) – Blu-ray Disc

*½/**** Image A- Sound B Extras A
starring Reese Witherspoon, Owen Wilson, Paul Rudd, Jack Nicholson
written and directed by James L. Brooks

by Angelo Muredda “We’re all one small adjustment away from making our lives work,” Paul Rudd’s George chirps, a little too eagerly, in the interminable, banally titled, and curiously unpunctuated How Do You Know. It’s a strange thing for an indicted man on the verge of financial ruin to say, but then How Do You Know is a strange movie, less the tidy romantic comedy its trailer pitches than a monument to the incidental pleasures of narrative ungainliness and lax comic timing.

Arthur (2011) – Blu-ray + DVD + Digital Copy

*½/**** Image B Sound A- Extras C-
starring Russell Brand, Helen Mirren, Greta Gerwig, Jennifer Garner
screenplay by Peter Baynham, based on the film Arthur written and directed by Steve Gordon
directed by Jason Winer

by Ian Pugh Boy, that Russell Brand sure does talk a lot, doesn't he? Jason Winer's modernization of Steve Gordon's 1981 comedy Arthur serves as your latest reminder that Brand is turning his long-winded rambling into a full-blown comic empire–and it's a good thing it makes that point perfectly clear, because otherwise I can't think of any reason why this remake exists. Brand's slurring motormouth is on full display here, and he's such a suffocating presence that Arthur Bach's now-famous inebriety hardly plays a role. Who needs booze when you've got an immature dude who just won't shut up? Of course, the character is still nominally an alcoholic–and the film attempts to "fix" that problem in precisely the wrong way. Fearing it will be seen as an implicit endorsement of excessive drinking, Arthur launches into an overwritten screed about the attendant dangers of same, somehow assuming that Gordon's original didn't comprehend the seriousness of its own premise. Between that mistaken belief and its broad, bland humour, the picture might be more accurately considered a remake of the notorious Arthur 2: On the Rocks.

She’s Out of My League (2010) – Blu-ray Disc

ZERO STARS/**** Image A Sound A Extras D
starring Jay Baruchel, Alice Eve, T.J. Miller, Mike Vogel
screenplay by Sean Anders & John Morris
directed by Jim Field Smith

by Jon Thibault

What happens when a beautiful, wealthy event planner meets a scrawny, socially maladroit, uneducated TSA security guard who's too uncoordinated to shave his own balls?

Love!

The Boondock Saints II: All Saints Day (2010) – Blu-ray Disc

½*/**** Image A- Sound A- Extras B-
starring Sean Patrick Flannery, Norman Reedus, Clifton Collins Jr., Billy Connolly
written and directed by Troy Duffy

by Alex Jackson The first thing I did when I got a FACEBOOK account was look up Travis, my best friend from gradeschool, whom I hadn't seen or heard from in the last twenty years. Looking at his profile, I saw that he listed "extensive" under music and "way too many to list here" for books, but under movies he had just one title: The Boondock Saints. The bands and books he loves are too numerous to mention, but there is a film that, in his mind, towers above all others. There is only one film that bears mentioning. And that film is Troy Duffy's The Boondock Saints. Is it petty of me to not put in that "friend" request? This seems to be all the update I need. Twenty years is a long time. The only things we really had in common were that we both went to the same school and both liked Nintendo and The Monster Squad. That's hardly enough to inoculate a friendship against The Boondock Saints.

Barry Lyndon (1975) – Blu-ray Disc

****/**** Image A Sound A-
starring Ryan O'Neal, Marisa Berenson, Patrick Magee, Hardy Kruger
screenplay by Stanley Kubrick, based on the novel by William Makepeace Thackeray
directed by Stanley Kubrick

Mustownby Alex Jackson If The Shining has dated the most of Kubrick's films, Barry Lyndon, which immediately preceded it, has dated the least. In 1976, Barry Lyndon was nominated for the Best Picture Academy Award alongside Jaws, One Flew Over the Cuckoo's Nest, Dog Day Afternoon, and Nashville. I have some reservations about a couple of those, but there's no arguing that these are a few of the most revered American movies of the last four decades. And yet, they're all inextricably linked to the year 1975. Certainly, they still work on their own terms, but today there's an unspoken contract that we will acknowledge and accept them as something produced thirty-five years ago. We don't have to make any such concessions with Barry Lyndon; there isn't anything vintage about it.

13 Assassins (2010)

****/****
starring Koji Yakusho, Takayuki Yamada, Yusuke Iseya, Ikki Sawamura
screenplay by Daisuke Tengan
directed by Takashi Miike

13assassinsby Walter Chaw 13 Assassins, Takashi Miike's costume-period retro-cross-cultural updating of Sam Peckinpah's The Wild Bunch (and more horizontal homage to obvious antecedents by countrymen Kurosawa, Kobayashi, and Chushingura), initially seems a surprise choice for someone who's made his name (80+ times in the last twenty years) with transgressive, flamboyantly outré Yakuza and horror pictures. But Miike hinted at this exact marriage of a specific Spaghetti Western tradition and the Samurai flicks that were its inspiration with his arch Sukiyaki Western Django–choosing this time around to present the material "straighter," allowing his cast the language and trappings of late-Feudal Japan. The result is possibly the best Samurai movie since Yoji Yamada's Twilight Samurai (and its unofficial sequel, Hidden Blade), a picture meticulous in its details that is nonetheless only possible to fully appreciate within a working conversation with the traditions (including those of Miike's own work) that inform it. It's like a Coen Brothers film in that respect: very much the post-modern artifact, very much the solipsistic auto-critical exercise in genre, but also so technically brilliant and thematically rich that it's possible to enjoy it without much of that prior knowledge.

The Sorcerer’s Apprentice (2010) – Blu-ray + DVD

*/**** Image A+ Sound A+ Extras D
starring Nicolas Cage, Jay Baruchel, Alfred Molina, Teresa Palmer
screenplay by Matt Lopez and Doug Miro & Carlo Bernard
directed by Jon Turteltaub

by Walter Chaw Disney was headed this way before The Little Mermaid–then Pixar–gave them the illusion of a new direction. But all along, the dirty little secret in the House of Mouse has been that, Eisner or not, the company's sensibilities lie in the exhumation and unnatural reanimation of their vault product, whether it be in repackaging the old grey mares or offering dtv sequels to the same, or mounting big-budget revamps of past "glories." Then, accidentally, they made a good film with the first Pirates of the Caribbean, which reminds of a certain thing with blind squirrels and nuts. So it comes as no surprise that Disney, dealing with a congenital paucity of imagination, has reached the point where it's actually making movies based on a portion of a movie. Next up? That Spaghetti Scene from Lady and the Tramp: The Movie. But first, there's Jon Turteltaub and Jerry Bruckheimer's The Sorcerer's Apprentice, hoping to conjure up (ha) the nominal success of their National Treasure franchise on the back of a specious premise cobbled together so they can repurpose part of Fantasia in live-action. Bad idea? Really bad idea.

Harry Potter and the Deathly Hallows Part I (2010) – Blu-ray + DVD + Digital Copy

***½/**** Image B- Sound A+ Extras A+
starring Daniel Radcliffe, Rupert Grint, Emma Watson, Helena Bonham Carter
screenplay by Steve Kloves, based on the novel by J.K. Rowling
directed by David Yates

by Walter Chaw David Yates's Harry Potter and the Deathly Hallows Part I (hereafter Harry Potter 7a) is a coda for the end of a dark decade in film–a war journal, a diary of the apocalypse–and good enough to be this constant, niggling reminder that had J.K. Rowling the courage to do what it appears she intends to do at first, her Harry Potter series could have been nigh canonical instead of just pretty good. Alas, that's for the second part of this two-parter. For now, it's easy to see Harry sacrificed on the cross of his Chosen One eminence. With Yates back for his third go-round and Steve Kloves again adapting, it's a pair of newcomers to the franchise–DP Eduardo Serra and composer Alexandre Desplat (his work on Birth and Lust, Caution: tremendous)–who contribute most to the minimal, blasted feeling of Harry Potter 7a. It's empty, bleak, and stately for long stretches as our core triumvirate of Ron (Rupert Grint), Hermione (Emma Watson), and Harry (Daniel Radcliffe) search a Tennysonian wilderness for some essential part of themselves valuable enough to offer up for the sake of the world. When it opens with Hermione mournfully erasing the memory of her from her "muggle" parents, the film announces itself as a triumphant return to the broken wasteland promised by The Order of the Phoenix. This Harry Potter intends to do harm.

Robots (2005) – Blu-ray Disc

**/**** Image A- Sound B+ Extras C+
screenplay by David Lindsay-Abaire and Lowell Ganz & Babaloo Mandel
directed by Chris Wedge and Carlos Saldanha

by Walter Chaw Surprisingly, perhaps shockingly, Robots isn't terrible, even though it's a product of the same chowderheads behind Ice Age and even though it's your basic ramshackle kid's flick/self-esteem trope (complete with closing musical number) upon which the Shrek franchise has founded a scatological empire. What works in its favour is its attention to the little details of a world that, without explanation, is completely populated by robots that employ other robots in specialized, superfluous functions. What works against it is the lack of a firm grip on Robin Williams's bridle (resulting in a bunch of gay jokes that weren't funny when Milton Berle was doing them half a century ago), a weak reliance on pop cultural in-jokes that are already dated (Britney Spears? C'mon–why not Ricky Martin?), and the usual roster of fart and diarrhea jokes, which aren't exactly a calling card for immortality. The appropriately-named Blue Sky animation studio promises a lot with its giant mainframes, but it can't deliver anything beyond a brilliant opening sequence, a Tom Waits song (like Shrek 2), and then a lot of the same passionless, heartless idiotspeak that passes for children's fare nowadays.

The Incredibles (2004) – [2-Disc Collector’s Edition – Widescreen] DVD + 2-Disc Blu-ray + DVD + Digital Copy

****/****
DVD – Image A+ Sound A+ Extras A+
BD – Image A Sound A Extras A+
written and directed by Brad Bird

Incrediblescap

by Walter Chaw The first hint that there's something at work in The Incredibles far beyond the pale is the casting of Sarah Vowell as the voice of wilting Violet, the wallflower older sister in the Incredibles' nuclear family. Vowell herself is a brilliant satirist, a gifted writer, and in her heart o' hearts, a bona fide autobiographical anthropologist. She mines the tragedies of her life for insight into the thinness of the onionskin separating our ability to function with the iron undertow of self-doubt and disappointment that comprises all of our paralyzed yesterdays. The Incredibles does a lot of things well–a lot of the same things, as it happens, that Sarah Vowell does well. Through two Toy Story films and last year's fantastically topical Finding Nemo, Pixar has provided the new gold standard in children's entertainment, and it has consistently done so by injecting an amazing amount of insight and depth into the foundation of its bells and whistles.

Source Code (2011) + Certified Copy (2010)

SOURCE CODE
****/****
starring Jake Gyllenhaal, Michelle Monaghan, Vera Farmiga, Jeffrey Wright
screenplay by Ben Ripley
directed by Duncan Jones

Copie conforme
****/****
starring Juliette Binoche, William Shimell
written and directed by Abbas Kiarostami

by Walter Chaw The one part of Source Code that isn't duck-ass tight poses so many questions about the nature of our hero's heroism and the aftermath of the film that it opens up what initially seems a hermetically-sealed conceit into something of real depth and fascination. Far from the solipsism of failures interesting (Timecrimes) and not (Primer), different from marginal successes like 12 Monkeys and Déjà Vu, Duncan Jones's sophomore feature (after the similarly thorny Moon) plays most like a child of Last Year at Marienbad and a companion piece to Abbas Kiarostami's contemporaneous Certified Copy. It speaks in terms of quantum physics and string theory, but without pretension, achieving the almost impossible by introducing difficult concepts at the same pace with which its characters–not a dummy among them–are able to understand them without gassing (or worse, falling well behind) the audience. That it presents itself as a mainstream, popular entertainment is more to its credit, giving lie to the notion that Hollywood is bankrupt of ideas. Rather, it's the destination for gifted filmmakers–some of them smart enough, and resourceful enough, to hold fast to their idealism and intelligence for, if not an entire career, then at least long enough to set a bar.

In Treatment: Season Two (2009) – DVD

Image B Sound B

by Walter Chaw Where the first season ended with at least lip-service to ambiguity and frustration, the second runs a disturbingly cheery course of happy horseshit and the worst kinds of Dr. Phil-isms while canonizing our Sainted Paul (Gabriel Byrne) on the cross of other peoples' problems. Taking up where the series left off, we find Paul divorced, relocated to New York, and in the process of being sued by the cartoonishly belligerent father (Glynn Turman) of a patient from Season 1 who killed himself. This 35-episode batch follows sessions with Mia (Hope Davis), a lawyer and former patient who owns the insult of the term "hysterical"; April (Alison Pill), a college student with a saviour complex and a nasty cancer; Oliver (Aaron Grady Shaw), a chubby adolescent enduring his parents' divorce; and Walter (John Mahoney), a powerful CEO on the brink of a fall. Then there's Paul, of course, who's dealing with single parenthood, the possibility of losing his practice, and another woman patient who wants to jump his analytical Irish bones.

I Spit on Your Grave (1978) + I Spit On Your Grave (2010) – Blu-ray Discs

Ispitonyourgrave78cap

I SPIT ON YOUR GRAVE (a.k.a. Day of the Woman)
**/**** Image A Sound B Extras B+

starring Camille Keaton, Eron Tabor, Richard Pace, Anthony Nichols
written and directed by Meir Zarchi

I SPIT ON YOUR GRAVE
*/**** Image A Sound A- Extras B-

starring Sarah Butler, Jeff Branson, Daniel Franzese, Andrew Howard
screenplay by Stuart Morse, based on a screenplay by Meir Zarchi
directed by Steven R. Monroe

by Bryant Frazer Rape-revenge is the basest of movie formulas. What amounts to a social contract exists with the audience: during the first half of the film, you will experience the sadistic, brutal, misogynistic sexual abuse of an innocent, probably naïve young woman at the hands of cavalier thugs. And during the second half of the film, you will see this broken woman–this survivor–pull herself together long enough to exact a terrible revenge on those who wronged her.

Cosmonaut (2009)

Cosmonauta
**½/****
starring Claudio Pandolfi, Sergio Rubini, Mariana Raschilla, Pietro Del Giudice
screenplay by Susanna Nicchiarelli, Teresa Ciabatti
directed by Susanna Nicchiarelli

Cosmonautby Bill Chambers Susanna Nicchiarelli's Cosmonaut (Cosmonauta) opens with little Luciana fleeing Holy Communion, shedding the accoutrements of the ceremony on her sprint back home. She seems a little young to be throwing off the shackles of religious conformity, younger even than her alleged onscreen age of nine, but the punchline's priceless in its precociousness: "Because I'm a communist!" she barks when her mother asks why she left church. There's actually a bit more to her rebellion than that. With their dad gone (having died a "true communist"), she looks to her geeky older brother Arturo for guidance, and because it's 1957 and the Soviets are about to launch Sputnik, he favours the godless world of communism as well. From a North American perspective, the movie is interesting in that respect, as very rarely do our history books stop to consider the excitement that Sputnik and Yuri Gagarin must have engendered in Europe on their way to depicting America's mad rush to win the space race. Even propaganda footage showcasing the likes of Laika the Russian dog–which forms the basis of transitional montages similar to but less operatically intense than the ones that constitute a good portion of Marco Bellocchio's Vincere–was mostly new to me. In fact, when the moon-landing cropped up in the finale, I breathed a sigh of disappointment, though it's worth noting that it may not be such a cliché in Italy.

Hereafter (2010) – Blu-ray + DVD + Digital Copy

½*/**** Image A Sound A Extras C+
starring Matt Damon, Cécile De France, Jay Mohr, Bryce Dallas Howard
screenplay by Peter Morgan
directed by Clint Eastwood

by Ian Pugh It's an age-old problem: how do you make a movie (or write a book, or stage a play) about the broad and ultimately philosophical subject of death? Not like this, that's for sure. Looking and feeling like it was shot from inside an aquarium, Clint Eastwood's Hereafter is a failure of staggering proportions. Three stories intertwine to form a bland whole: George (Matt Damon) is an honest-to-gosh psychic who's trying and failing to stay out of the racket; Marie (Cécile De France) is a French TV presenter who recalls visions of the afterlife after being caught in the Indian Ocean tsunami; and Marcus (Frankie McLaren) is a young lad who seeks answers when his twin brother dies in a traffic accident. Rest assured their paths will cross in profoundly obvious ways as they wrap their heads around the very concept of death and what comes next. I'm certainly not the first person to compare Hereafter to Babel, but Eastwood offers little alternative. Hereafter approaches the various perceptions of death in the same way that Alejandro González Iñárritu approached "life," and the end result is equally bloated and condescending.

The Romantics (2010) – DVD

ZERO STARS/**** Image C Sound B Extras D
starring Katie Holmes, Josh Duhamel, Anna Paquin, Elijah Wood
screenplay by Galt Niederhoffer, based on her novel
directed by Galt Niederhoffer

by Walter Chaw Though technically correct, I much prefer the term “Romanticists” to “Romantics,” but that’s a fussy kind of neither here nor there in a film, hyphenate Galt Neiderhoffer’s The Romantics, that suffers from nothing like precision, elegance, or, crucially, poetry. It’s a nightmare–a handheld, artfully ugly mash-up of Rachel Getting Married and Dead Poets Society that starts with credits in Wes Anderson’s favourite font and slogs on through with Lilith Fair/coffee-shop folk and a character played by Katie Holmes who’s jealous of a character played by Anna Paquin’s boobs. Let’s call it a draw, ladies, and discuss instead this variety of faux-prestige romcom, which hijacks Lloyd Dobler’s holding of a boombox blaring Peter Gabriel over his head by having frickin’ Josh Duhamel hoist an iPhone with Keats’s “To a Nightingale” on its screen. It features idiots like dollar-store Cameron Diaz Malin Akerman and an increasingly Gollum-esque Elijah Wood in awkward supporting roles; allows scenarios like the nightmare rehearsal-dinner toast montage; and tasks Candace Bergen’s team of handlers and feeders to drag her out to yet again fulfill the role of Tyrannosaurus Reaction Shot. Good job, Ms. Neiderhoffer, for not only mistaking Catch & Release for Noah Baumbach or Lars Von Trier, for not only setting your indie emoti-fest in the Dan in Real Life bizarre-verse, but for borrowing a bad burlesque from the lame 27 Dresses, too.

The American (2010) – Combo Blu-ray + DVD + Digital Copy

***½/**** Image A+ Sound A Extras B-
starring George Clooney, Violante Placido, Thekla Reuten, Paolo Bonacelli
screenplay by Rowan Joffe, based on the novel A Very Private Gentlman by Martin Booth
directed by Anton Corbijn

by Walter Chaw Though nothing more than a well-made Jean-Pierre Melville shrine at first glance, Anton Corbijn's lovely The American leaves a surprising amount of aftertaste in a year of film that will probably be remembered for the number of "growers" among its roster of resonant pictures. An unusual take on the monotony of any profession (be it prostitution or engineering to-order weapons for assassins), it's more evidence that George Clooney, with this tribute to Melville, his Kaufman-scripted Confessions of a Dangerous Mind, and his Tarkovsky redux Solaris, is quietly becoming a visible, above-the-line champion for smart American genre flicks–fomenting his own little underground Nouvelle Vague with movies that audiences, for the most part, are anxious to dismiss. The American is provocatively self-conscious in the way of its best French antecedents; aware of the shoulders upon which it stands (everything from Le Samourai to Breathless to later stuff like the homegrown Eye of the Needle), it also has the gumption to title itself after the original title for Citizen Kane. In so doing, it announces itself as something like a commentary on how the passionate, bloody carnality at the foundation of the United States has aged into an almost bored functionality in the first decade post-9/11.

Hot Tub Time Machine (2010) [Unrated] – Blu-ray + Digital Copy

*½/**** Image A Sound A Extras D
starring John Cusack, Rob Corddry, Craig Robinson, Chevy Chase
screenplay by Josh Heald and Sean Anders & John Morris
directed by Steve Pink

by Walter Chaw Emboldened, perhaps, by the surprisingly good The Other Guys and the surprisingly great Get Him to the Greek, I went into Steve Pink's Hot Tub Time Machine with the belief that its high-concept idea–not the time travel, but the casting of '80s icon John Cusack in a film that would return him to his decade of greatest power and influence–would be at least enough for it to function as a fairly smart nostalgia piece. Sadly, it's not very smart, nor is it very funny–and the parts of it that work do so in spite of what feels like Cusack's disdain for this period that made him famous. It's pretty standard fare, really, full of obvious jokes about changing the past and the obvious "rebellion" of not honouring the Prime Directive by introducing The Black-Eyed Peas into an eighties music scene that, for everything you could say about Falco or Flock of Seagulls, never produced anything remotely as odious as The Black-Eyed Peas. No, not even Billy Joel. In other words, Pink and his stable of writers can't seem to tell what's ironic from what isn't, meaning the whole project was doomed before it left the starting gate.

One Swayze Summer: A DVD Tribute to Patrick Swayze

Swayzedvdstitle

“Good-looking people turn me off. Myself included.”
Patrick Wayne Swayze

RED DAWN (1984) [COLLECTOR’S EDITION] – DVD
**½/**** Image B Sound C+ Extras N/A
starring Patrick Swayze, C. Thomas Howell, Lea Thompson, Powers Boothe
screenplay by Kevin Reynolds and John Milius
directed by John Milius

THE OUTSIDERS (THE COMPLETE NOVEL) (1983) [TWO-DISC SPECIAL EDITION] – DVD
****/**** Image A+ Sound A Extras A+

starring C. Thomas Howell, Matt Dillon, Diane Lane, Leif Garrett
screenplay by Kathleen Knutsen Rowell, based on the novel by S.E. Hinton
directed by Francis Ford Coppola

YOUNGBLOOD (1986) [TOTALLY AWESOME 80s DOUBLE FEATURE] – DVD
ZERO STARS/**** Image D+ Sound C-

starring Rob Lowe, Cynthia Gibb, Ed Lauter, Patrick Swayze, Jim Youngs
written and directed by Peter Markle

POINT BREAK (1991) [PURE ADRENALINE EDITION] – DVD + [WARNER REISSUE] – BLU-RAY DISC
***/****

DVD – Image B- Sound A Extras C
BD – Image B- Sound B+ Extras C
starring Patrick Swayze, Keanu Reeves, Gary Busey, Lori Petty
screenplay by W. Peter Iliff, based on the novel by Rick King
directed by Kathryn Bigelow

DIRTY DANCING (1987) [TWENTIETH ANNIVERSARY] – DVD
½*/**** Image B Sound A Extras B

starring Patrick Swayze, Jennifer Grey, Jerry Orbach, Steven Reuther
screenplay by Eleanor Bergstein
directed by Emile Ardolino

GHOST (1990) [SPECIAL COLLECTOR’S EDITION] – DVD + BLU-RAY DISC
*/****

DVD – Image A- Sound B Extras B
BD – Image A Sound B+ Extras B
starring Patrick Swayze, Demi Moore, Whoopi Goldberg, Tony Goldwyn
screenplay by Bruce Joel Rubin
directed by Jerry Zucker

KEEPING MUM (2006) – DVD
½*/**** Image A Sound B+ Extras B

starring Rowan Atkinson, Kristin Scott Thomas, Maggie Smith, Patrick Swayze
screenplay by Richard Russo and Niall Johnson
directed by Niall Johnson

by Walter Chaw Early on in the stupidest/smartest movie of 1984, a band of high-schoolers, having just witnessed a few planeloads of Cuban paratroopers land in their football field and machine gun their history teacher (“Education this!”), stock up for a stay in forest exile by cleaning out a gas-n-sip. Sleeping bags, canned goods, and the last thing off the shelf? That’s right: a football. I spent the rest of Red Dawn trying to figure out if the football played some role in the eventual fighting prowess of our carbuncular guerrillas or if it was merely a big “fuck you” to the rest of the world that thinks “football” is soccer. The jury’s still out, because while there’s an awful lot of grenade-chucking in the last hour of the picture, none of it looks particularly football-like (or athletic come to think of it) despite the deadly accuracy of each toss aimed at the hapless commie combatants. (So clueless are they about modern-day conventional warfare that they’re repeatedly ambushed by this untrained makeshift militia; they’re the Washington Generals to our Harlem Globetrotters.) It’s just one puzzle in an altogether puzzling film–one that has Patrick Swayze playing Charlie Sheen’s older brother (and Jennifer Grey the sister of Lea Thompson in an even greater genetic stretch) and C. Thomas Howell as a remorseless, psychopathic nihilist who takes his dose of glory by Rambo’ing up against a Russian attack helicopter. Maybe his transformation from ’80s-wallpaper milquetoast to tough-guy killing machine had something to do with being forced by the brothers Swayze-Sheen to drink fresh deer blood from a tin cup.

Justified: The Complete First Season (2010) – Blu-ray Disc

Image A- Sound B Extras B
"Fire in the Hole," "Riverbrook," "Fixer," "Long in the Tooth," "The Lord of War and Thunder," "The Collection," "Blind Spot," "Blowback," "Hatless," "The Hammer," "Veterans," "Fathers and Sons," "Bulletville"

by Jefferson Robbins Fish gotta swim, birds gotta fly, Timothy Olyphant gotta sidle. It's the actor's natural means of locomotion–he may approach an object or adversary or inamorata head-on at first, but by the time he's within arm's length, his gaze has tilted to squint at his target with one coyote eye dominant. It's the walk not only of an actor who's thoroughly considered the best way to present himself to a camera, but also of a man who might have to reach for his pistol at any time. It may be an actorly crutch, but Olyphant can alternately wield it as a wedge, a hook, or a truncheon to coerce a viewer into watching him more closely. We want to know what he sees that makes his glare go askance.