The Muppets (2011) [The Wocka Wocka Value Pack] – Blu-ray + DVD + Digital Copy

**/**** Image A Sound A Extras B-
starring Jason Segel, Amy Adams, Chris Cooper, Rashida Jones
screenplay by Jason Segel & Nicholas Stoller
directed by James Bobin

by Bryant Frazer I stopped paying attention to new Muppet movies after creator Jim Henson’s untimely death in 1990. I just didn’t have the heart for it. But I was aware that the Henson legacy continued with The Muppet Christmas CarolMuppet Treasure Island, and, finally, Muppets from Space. (For Gen X-ers, 1999 was a very bad year: George Lucas told you that The Force was really tiny space critters living in your bloodstream, and Team Muppet expected you to believe that Gonzo was an extraterrestrial.) Muppets from Space was the last hurrah for Frank Oz, Jim Henson’s right-hand man for so many years, although the Muppets endured on a newly humble scale, reaching in 2005 what fans generally agree was the nadir of their existence, the made-for-TV The Muppets’ Wizard of Oz.

Marvel’s The Avengers (2012)

Avengers

The Avengers
**½/****

starring Robert Downey Jr., Chris Evans, Mark Ruffalo, Samuel L. Jackson
screenplay by Joss Whedon
directed by Joss Whedon

by Walter Chaw Joss Whedon delivers his definitive artistic statement with the completely inoffensive, agreeably stupid Marvel’s The Avengers. It’s a giant, loud, sloppy kiss planted right on the forehead of a fanboy contingent that will somehow find jealous dork solidarity in the largest product excreted this year by a Hollywood machinery that’s the playground now of Whedons and Apatows and Farrellys, where it used to be the domain of John Fords and Sam Peckinpahs and Von Sternbergs. Not a full-grown man among them, they’re drunk on power and nerd cred, making references to their references and amazed that someone like Scarlett Johansson returns their calls (or that they could be married to someone like Leslie Mann in a world not gone mad). The Avengers is a brilliant balance of indecipherable against crowd-pleasing, with bouncy fight scenes, one-liners as character development, and the absolute confidence that everyone in the audience has on purpose seen each of the films designed as a prequel to this one. As the pendulum swings back to pleasuring 18-year-old boys vs. 16-year-old girls (despite Titanic in 3D‘s attempts at swinging it back), take heart that if, at the end, it only reminds of the loudest, most expensive team-up episode of “Shazam!”, it at least has the sense to deliver the best Hulk moments…ever.

The Hunger Games (2012)

**/****
starring Jennifer Lawrence, Josh Hutcherson, Liam Hemsworth, Donald Sutherland
screenplay by Gary Ross and Suzanne Collins and Billy Ray, based on the novel by Collins
directed by Gary Ross

by Walter Chaw Now that the United States has remade Kinji Fukasaku’s Battle Royale, it’s fair to wonder when it’ll tackle Ichi the Killer or Tetsuo, the Iron Man. It’s all part of a greater conversation around what it is that made the U.S. more sympathetic to Japan after 9/11, whereas before, films like Fukasaku’s grim little sociological masterpiece were seen as contraband in America. Marinating in social superiority only gets you so far, I guess, until the detonation of a WMD over a civilian population suddenly redraws the lines and changes your worldview. It’s no accident that Suzanne Collins’s series of tween dystopia books is wildly popular in this post-millennial zeitgeist–no accident, either, come to think of it, that the “Girl with the Dragon Tattoo” books, featuring brutal rape and unforgivable fantasy vigilantism (and a fetching girl-hero, it bears mentioning), were the rage of blueblood, blue-haired reading circles: grandma in the Times Square grindhouse circa 1974. What’s genuinely frightening about the wide, middlebrow acceptance of such traditionally deviant fare is that it’s a glimpse into what happens when a country founded by Puritans suddenly has its apocalyptic paranoia and hardwired xenophobia briefly confirmed. If you’re a Republican with a moral barometer in these, our United States of America in 2012, take a good, hard look at what’s happened to your party and tell me that I’m wrong. It takes a hell of a lot of crazy to make Margaret Atwood seem prophetic–to make Mel Gibson trend towards the middle.

Mission: Impossible – Ghost Protocol (2011) – Blu-ray + DVD + Digital Copy

***½/**** Image A Sound A+ Extras B
starring Tom Cruise, Jeremy Renner, Simon Pegg, Paula Patton
screenplay by Josh Appelbaum & André Nemec
directed by Brad Bird

by Walter Chaw Even though Brad Bird directed The Iron Giant (arguably the best film in a year, 1999, rife with great films), even though he’s responsible for the best Fantastic Four flick there ever will be (The Incredibles) as well as the best overall Pixar release (Ratatouille), I still had the chutzpah to be skeptical when I heard that his live-action debut would be the fourth entry in the Mission: Impossible franchise. I am contrite. Mission: Impossible – Ghost Protocol (hereafter Ghost Protocol) is the model of the modern action picture. It has exactly two quiet moments (I counted)–the rest is audacious, ostentatious, glorious action set against not only the expected fisticuffs but also a ferocious sandstorm in Dubai and the bombing and partial collapse of the Kremlin. It’s an honorary Bond movie better than any of them (only the Casino Royale redux enters the same conversation–well, maybe On Her Majesty’s Secret Service, too), filled to stuffed with clever gadgets (and their logical application), exotic locales, beautiful women, and fast cars. It’s sexy, sleek, knows better than to take its foot off the pedal, flirts with relevance without ever attempting depth it’s not equipped to deal with, and establishes J.J. Abrams as better than idol Spielberg in the producing-good-action-movies sweepstakes. Not content to scale just any building, it has returning hero Ethan Hunt (Tom Cruise) climb the Burj Khalifa; not content to stage a brawl in a parking garage, it finds one of those robotic ones to provide a third dimension to the scrambling in vintage, brilliant, 1980s Hong Kong style. In a series that boasts John Woo as director of its first sequel, Ghost Protocol has the big, giant, clanking ones to outdo Woo.

The Rocketeer (1991) [20th Anniversary Edition] – Blu-ray Disc

Rocketeercap1

***½/**** Image B Sound B
starring Bill Campbell, Alan Arkin, Jennifer Connelly, Timothy Dalton
screenplay by Danny Bilson & Paul De Meo, based on the graphic novel by Dave Stevens
directed by Joe Johnston

by Walter Chaw Joe Johnston’s rousing Art Deco audition for Captain America, The Rocketeer is, twenty years on, as crisp and clean as laundry-line linen. It has a beautiful hero, his beautiful girl, and Alan Arkin as the crotchety old Q/Whistler/Lucius Fox to guarantee that no matter what our hero does to his gadgets, there’ll always be more and better ones to take their place. The villain is modelled on Errol Flynn and works for the Nazis, and you don’t have to squint very hard to figure out that a good portion of the picture’s stickiness and cult accretion has to do with the idea that its 1938 setting allows for a measure of movie-history geekery. A sequence on a film set as bad guy Neville Sinclair (Timothy Dalton, chewing scenery like a champ) shoots a period swashbuckler is subversive not only for the way that it reflects the vehicle in which it finds itself but also for suggesting that the Golden Age of Hollywood was, as we suspected all along, rife with miscreants and foreign agents. It allows for a greater connection to our working-class heroes, as well as the comparison the movie makes now again of The Rocketeer to Chuck Yeager. And at its best, it allows The Rocketeer to feel exactly like the best kind of aw-shucks patriotism: spic-and-span and “you got a stick of Beeman’s?” and based on a love of our ideals instead of a hatred of an Other.

Conquest (1983); Contraband (1980); Zombie (1979) – DVDs + Zombie (1979) [2-Disc Ultimate Edition] – Blu-ray Disc

CONQUEST
½*/**** Image D+ Sound C
starring Fabio Testi, Marcel Bozzuffi, Ivana Monti, Guido Alberti
screenplay by Ettore Sanzo and Gianni de Chiara
directed by Lucio Fulci

Luca il contrabbandiere
**/**** Image B Sound B
starring Fabio Testi, Marcel Bozzuffi, Ivana Monti, Guido Alberti
screenplay by Ettore Sanzo and Gianni de Chiara
directed by Lucio Fulci

by Walter Chaw There’s something decidedly uncinematic about the films of Lucio Fulci (excepting Don’t Torture a Duckling and Four of the Apocalypse, which actually sort of rock). If not for his fascination with gore effects and his propensity for casting irritating children in irritating children parts, it’d be hard to find anything to separate his work from the grindhouse ghetto of, say, Jess Franco. As it is, the stilted claims at auteurism (he’s known as the master of eye violence, mainly for a few juicy bits from The Beyond and Zombie) do more, perhaps, to relegate his work to a sort of camp gulag: the Siberia of legitimate cinema, where adolescent tools congregate for midnight showings armed with irony and a crippling baggage of disdain and contempt. I liked “Mystery Science Theater 3000” and believed that I liked it because I was sophisticated; in time, you realize that you like it because you’re an officious prick who sort of gets off on mocking movies. I think a lot of people would argue that this is the role of the film critic, but I’d offer that a critic–a good one–loves film so much that he or she is offended when a movie is terrible. There’s no real joy in defiling altars, particularly when they’re your own.

Lady and the Tramp (1955) – Diamond Edition Blu-ray + DVD

Ladytramp1

**½/**** Image A Sound A- Extras A
animated; screenplay by Erdman Penner, Joe Rinaldi, Ralph Wright, Don Dagradi
directed by Hamilton Luske, Clyde Geronomi, Wilfred Jackson

by Bill Chambers Given that it may have the most famous scene in the Disney oeuvre, it’s odd that Lady and the Tramp doesn’t enjoy a better, or at least bigger, reputation. The first animated feature in CinemaScope, as well as the studio’s first original story1 and its first dog movie (various Pluto-starring shorts notwithstanding), the film, despite earning the highest grosses of any Disney production since Snow White and the Seven Dwarfs, seems to have been eclipsed in the public consciousness from a genre standpoint by 101 Dalmatians and from a cinematographic standpoint by Sleeping Beauty, each of which followed so closely on Lady and the Tramp‘s heels as to reduce history’s perception of it to a dry run. It’s a bit better than that, but, coveted “Diamond” status to the contrary, frankly not one of the greats.

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

Hugocapcap

*/**** Image A Sound A Extras B
starring Ben Kingsley, Sacha Baron Cohen, Asa Butterfield, Chloë Grace Moretz
screenplay by John Logan, based on the book The Invention of Hugo Cabret by Brian Selznick
directed by Martin Scorsese

by Walter Chaw Channelling Jean-Pierre Jeunet and Robert Zemeckis to numbing effect, the once-vital Martin Scorsese follows his elderly Shutter Island with the honest-to-God borderline-demented Hugo, in which the titular French urchin helps Georges Méliès reclaim his cinematic legacy. It’s a shrine to the birth of cinema, blah blah blah, the kind of thing someone as involved as Scorsese has been in film preservation was destined to make, I guess, at least at the exact moment that the ratio of working brain cells gave over the majority. It’s heartbreaking to see someone as vital as Scorsese used to be end up in a place as sentimental and treacly as this, resorting to retelling the Pinocchio story with little Hugo (Asa Butterfield) as a clock-fixer (really) whose life’s mission is to repair an automaton his dead dad (Jude Law) found in a museum attic–and who dreams one night that…wait for it…he himself is the hollow, broken automaton. I wish I didn’t have to go on. Did I mention that it’s in 3D? And that it’s two-and-a-half hours long but feels like a slow seven or eight? Seriously, Shoah is a breezier watch.

The Expendables (2010) [Extended Director’s Cut] – Blu-ray + Digital Copy

½*/**** Image A- Sound A Extras A
starring Sylvester Stallone, Jason Statham, Jet Li, Mickey Rourke
written and directed by Sylvester Stallone

by Walter Chaw After the remarkably tough and uncompromising Rambo and the almost-unbearably poignant and transparent Rocky Balboa, it’d be fair to nurse a healthy anticipation for Sylvester Stallone’s paean to the ’80s blockbuster, The Expendables. Alas, what’s on display owes more to Stallone’s Rhinestone than to his venerable Rocky series. A redux of Wild Hogs as embarrassing, boring, and ineptly- shot and edited as the original, The Expendables even ends the same way, with geezers riding off into the sunset on the backs of their four-fifths-life-crisis choppers. Tattoos and plunging v-neck Ts the rule of the day, it’s more Rogaine commercial than action movie, making fun of itself in the way that old guys who are genuinely insecure about their age make fun of themselves. It’s awkward. It’s also, in addition to being almost entirely free of excitement or a single line of dialogue that isn’t some syncopated mix of grunting and tough-guy cliché, maybe a no-shit adaptation of Eugene Ionesco’s “The Bald Soprano”. That’s the only way to explain how it is that a film tits-deep in dialogue could have not one exchange that makes any sense whatsoever. The way the movie’s put together, too, is a model of the Theatre of the Absurd’s occasional dabbling in non-sequiturs–something The Expendables seems to address at one point when the horsey-looking, freshly-waterboarded damsel (Giselle Itié) wonders how Stallone’s Barney has magically appeared as her saviour in a Caribbean (?) dictator’s dungeon. “I just am!” mumbles Barney. Who am I to argue with that?

Ben-Hur (1959) [Fiftieth Anniversary Limited Edition] – Blu-ray Disc|[Fiftieth Anniversary] Blu-ray Disc

Ben-Hur (1959) [Fiftieth Anniversary Limited Edition] – Blu-ray Disc|[Fiftieth Anniversary] Blu-ray Disc

***½/**** Image A+ Sound A Extras A
starring Charlton Heston, Jack Hawkins, Haya Harareet, Stephen Boyd
screenplay by Karl Tunberg, based on the novel by Lew Wallace
directed by William Wyler

Editor’s Note: Warner has just reissued Ben-Hur on Blu-ray minus the third disc and material bonuses of the box set, although this release does include the commentary and isolated music score. Technical specs remain unchanged.

by Jefferson Robbins Charlton Heston’s Judah Ben-Hur is a Jew in a Roman world, but his emotional journey is all Greek. It’s 26 AD, and Judah’s bond of friendship, his philia, with Roman noble Messala (Stephen Boyd), is sorely tested. When this bond breaks and Judah’s entire family suffers under the Roman version of justice, his romantic love, eros, for his servant’s daughter, Esther (Haya Harareet), is smothered by hate and vengefulness. What is left him? Only a really bitchin’ chariot race–the paramount action-chase scene in movie history, not matched for twenty years (see below) and still never bettered–and the hope of agape, the love and yearning between Man and God. This faithful but frustrated son of the Torah must learn that path through brushing contact with the new rabbi in town: a humble carpenter’s son, bound for glory on the Hill of Skulls.

Attack the Block (2011) + Super 8 (2011)|Super 8 – Blu-ray + DVD + Digital Copy

ATTACK THE BLOCK
***/****
starring Jodie Whittaker, John Boyega, Alex Esmail, Franz Drameh
written and directed by Joe Cornish

SUPER 8
***/**** Image A+ Sound A+ Extras A-
starring Elle Fanning, Kyle Chandler, Joel Courtney, Gabriel Basso
written and directed by J.J. Abrams

by Walter Chaw Joe Cornish’s low-budget creature-feature Attack the Block is a charmer, a delight, the kind of rare film–like Jack Sholder’s The Hidden, Stuart Gordon’s Re-Animator, or Steve De Jarnatt’s Miracle Mile–that devotees will latch onto, and for good reason, with the fervour afforded genuine cult classics. It has energy to burn, a strange affinity with E.T.: The Extra-Terrestrial, and a super-cool monster that looks like a cross between Ira from the “Moonshadow” comic and a grizzly bear. That most of it was carried off with practical effects is a shot in the arm for practical effects and a bearer of the nostalgia banner that seems to be popular lately, what with our dreams and memories fodder again for the celluloid couch. Better still, it introduces a new star into the future pantheon in John Boyega, who has charisma to burn as gang leader-cum-saviour Moses. The movie’s tale of a group of street toughs has drawn comparisons to The Warriors, but I think the better analogy is Spielberg’s E.T., not just in that alchemy between the fantastic and the absolutely mundane (South England’s Lambeth neighbourhood), but also in the crafting of a living youth subculture alive with its own language, ritual, and custom. It’s not too much to say that, at its best, Attack the Block makes you feel the way you did when the guys took things into their own hands to deliver the flying, omniscient, omnipotent E.T. to his landing site. It taps into the irrational cool. Which doesn’t happen very often.

The Twilight Saga: Breaking Dawn – Part 1 (2011)

ZERO STARS/****
starring Kristen Stewart, Robert Pattinson, Taylor Lautner, Billy Burke
screenplay by Melissa Rosenberg, based on the novel by Stephenie Meyer
directed by Bill Condon

by Walter Chaw Appalling by pretty much every measure, The Twilight Saga: Breaking Dawn – Part 1 (hereafter Twilight 4.1) is the predictable end result of a film based on a book written by an illiterate Mormon housewife mistaking her profound ignorance for profundity. It’s about a really old guy who talks a really young girl into marrying him and enduring really, really painful childbirth as her portion of God’s judgment on her kind; and then it’s about another kind of pedophilia, wherein a 19-year-old badly in need of acting lessons gets turned on by a baby and decides he’s going to marry that infant once she’s old enough to breed. Still with me? So, yes, I knew it was going to be bad and, yes, I went anyway. And you know what? For as girded as I was to the raw incompetence of this franchise, Twilight 4.1 still managed to plumb a few new depths. See, Twilight 4.1 is an apologia for spousal abuse and a clumsy pro-life screed (what about this crap isn’t clumsy?) before turning into cartoon Grand Guignol horseshit meant to freak out an audience of pre-teens and lonely housewives who think that this object of their devotion is selling them anything except loneliness and delusion. It’s sledgehammer racist in its depiction of a native housekeeper cast as Maria Ouspenskaya, and it has a moment in which a circle of wolves “think-talk” to each other in some ineffable evocation of an Optimus Prime pep talk. It’s completely inexplicable, in other words, and irritating for it.

Captain America: The First Avenger (2011) – Blu-ray + DVD + Digital Copy

***½/**** Image A- Sound B+ Extras B
starring Chris Evans, Tommy Lee Jones, Hugo Weaving, Stanley Tucci
screenplay by Christopher Markus & Stephen McFeely
directed by Joe Johnston

by Walter Chaw Given the opportunity to finally do the sequel to his The Rocketeer that I’ve sort of been hoping to see for the last twenty years, Joe Johnston comes through with flying colours. The absolutely, unapologetically cornpone Captain America: The First Avenger achieves exactly the right tone of Greatest Generation wartime propaganda without any winking post-modern irony to befoul the stew. It’s an earnest, genuine underdog story about a wimpy kid, Steve (Chris Evans, digitally reduced), who’s beaten up for defending the sanctity of the movie theatre before finally, on his sixth try, being accepted into the army under the kind auspices of mad scientist Dr. Erskine (Stanley Tucci). Erskine sees an essential goodness in Steve, a decency born from the Great War heroism of his long-gone parents, it’s suggested (in high-Fifties style), while crusty Col. Philips (Tommy Lee Jones) is persuaded by this twerp’s willingness to dive on a grenade to save a platoon made up of the type of men who spent their childhood tormenting guys like Steve. Asked if he wants to kill Nazis, Steve replies that he doesn’t want to kill anyone–he simply hates bullies. Steve, see, is an idealist. And any film that paints America’s bedrock idealism as heroic is not just the right kind of patriotic (the kind that doesn’t demean other cultures) and the right shade of nostalgia (i.e., in love with the essential purity of the hope behind the foundation of our country)–it’s more than okay by me, too.

The Lion King (1994) [Platinum Edition] – DVD|[Diamond Edition] – Blu-ray Disc

**/****
DVD – Image A Sound A Extras B+
BD – Image A+ Sound A Extras A-
screenplay by Irene Mecchi and Jonathan Roberts and Linda Woolverton
directed by Roger Allers & Rob Minkoff

by Bill Chambers The day The Lion King came out, during the summer of Gump, I bought a ticket for Wyatt Earp instead, convinced that I would be more satisfied by its three hours than by The Lion King‘s hour and change. Nobody remembers this now, but back then, the trades were counting on the reunion of Silverado collaborators Lawrence Kasdan and Kevin Costner to deliver the sleeper hit of the summer; although back then everybody involved in the production tried to pawn off the film’s failure on the growing cult of Tombstone, the fact is that Wyatt Earp is, if not the most boring movie ever made, perhaps the second-most. Still, even when a friend rolled up his sleeve for me a few weeks later to reveal four fingertip-sized bruises he sustained from watching The Lion King with his girlfriend (she white-knuckled her way through the wildebeest stampede ’til his arm went to sleep), I remained unconvinced that Disney’s latest blockbuster cartoon, which had grossed over $200M by that point, was worth the price of a ticket, having been taken for a ride by the prestige surrounding the dreadful Beauty and the Beast.

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

**/**** Image A Sound A+ Extras B+
starring Chris Hemsworth, Natalie Portman, Tom Hiddleston, Anthony Hopkins
screenplay by Ashley Edward Miller & Zack Stentz and Don Payne
directed by Kenneth Branagh

by Walter Chaw An uneasy collision of the Henry V Kenneth Branagh and the Peter’s Friends Kenneth Branagh, Branagh’s foray into the long-form Avengers trailer sweepstakes Thor features a star-making turn from handsome Aussie soap actor Chris Hemsworth (whose star was actually made as James T. Kirk’s dad in the Star Trek reboot), a lot of debt to the kitsch elements of Superman II, and another waste-of-life post-credits teaser starring everyone’s favourite one-eyed motherfucker. It has the titular Norse God of Thunder deposited fish-out-of-water-style in bumfuck New Mexico (better than Arizona, I guess, where he’d be asked for his papers, denied an education, then probably shot), where he falls under the care of mousy (?) physicist Jane (Natalie Portman), her mentor Selvig (Stellan Skarsgård), and wacky alterna-intern Darcy (Kat Dennings). He’s been banished, see, by daddy Odin (Anthony Hopkins); betrayed by tricky brother Loki (Tom Hiddleston); and separated from his beloved hammer until such time as he can prove himself a true Asgardian. Gibberish? You bet. Leave it at this: the movie’s pretty decent in a Starman sort of way when Thor’s tossing down coffee mugs at a local greasy spoon and demanding more drink and pretty horrible when it’s depicting the war between the Norse and the Frost Giants on a massive CGI stage that triggers Tron: Legacy flashbacks like wet heat does Vietnam.

Executive Decision (1996) – Blu-ray Disc

***/**** Image A Sound B+
starring Kurt Russell, Halle Berry, John Leguizamo, Steven Seagal
screenplay by Jim Thomas & John Thomas
directed by Stuart Baird

by Jefferson Robbins SPOILER WARNING IN EFFECT. Stuart Baird’s Executive Decision begins and ends as a bad, bad movie. It starts off wobbling distractedly from one fraught international locale to another, complete with bleeping, wordy chyrons telling us where we are and with whom. It ends in a pile of airliner-in-peril clichés and some flirty banter so terrible it puckers the ears, acting as though Airplane! never happened. In between, the picture gets better, tighter, and tenser than a sub-Tom Clancy military political thriller starring Steven Seagal has any right to be. It accomplishes this, in part, by throwing Seagal off the plane.

A Man Called Horse (1970) – Blu-ray Disc

Mancalledhorsecap

*½/**** Image B+ Sound B-
starring Richard Harris, Dame Judith Anderson, Jean Gascon, Corinna Tsopei
screenplay by Jack De Witt, based on a story by Dorothy M. Johnson
directed by Elliot Silverstein

by Bryant Frazer Hey, peoples of the world: white guys are awesome! Suppose a white guy–a pasty English lord, let’s say–were kidnapped by a bunch of Lakota Sioux. Sure, he might try to escape from captivity once or twice, but after a while he’d be totally cool with it. Instead of whining like a paleface, he’d go out and kill some other Native American people, maybe grab him a scalp or two, and then finally prove himself to his tribe by undergoing a bizarre physical ritual and fucking the chief’s sister. Eventually, he’ll be the leader of the tribe, rocking a tomahawk and a headband and showing them how to skirmish, English-style.

Green Lantern: Emerald Knights (2011) – Blu-ray Disc

**½/**** Image A Sound B+ Extras B-
Emerald Knights
screenplay by Alan Burnett and Todd Casey
directed by Lauren Montgomery
The First Lantern
screenplay by Michael Green and Marc Guggenheim
directed by Christopher Berkeley
Kilowog
screenplay by Peter J. Tomasi, based on “New Blood” by Peter J. Tomasi and Chris Samnee
directed by Lauren Montgomery
Mogo Doesn’t Socialize
screenplay by Dave Gibbons, based on the story by Alan Moore and Dave Gibbons
directed by Jay Oliva
Laira
screenplay by Eddie Berganza, based on “What Price Honor?” by Ruben Diaz and Travis Charest
directed by Jay Oliva
Abin Sur
screenplay by Geoff Johns, based on “Tyger” by Alan Moore and Kevin O’Neill
directed by Christopher Berkeley

by Jefferson Robbins The DC Universe direct-to-video animation series continues to earn its reputation, for good or ill, as a by-fans/for-fans endeavour. Producer Bruce Timm and company pump out Green Lantern: Emerald Knights as a kind of B-side to Martin Campbell’s disappointing Green Lantern feature film–a supporting document, the sort of thing valued mostly by collectors and fetishists. DC Comics fanboys will thrill to a flashback glimpse of planetary invasions carried out by back-issue bad-guy species the Dominators; casual viewers will likely just think it’s cool how the guys with the rings blow shit up with giant green energy swords in outer space.

The Fox and the Hound (1981) [25th Anniversary] + The Little Mermaid (1989) [Platinum Edition] – DVDs|The Fox and the Hound/The Fox and the Hound II (2006) [2 Movie Collection] – Blu-ray Disc

THE FOX AND THE HOUND
***½/**** Image C- Sound B Extras C
uncredited screenplay, based on the novel by Daniel P. Mannix
directed by Art Stevens, Ted Berman, Richard Rich

THE LITTLE MERMAID
*½/**** Image B- Sound C Extras A
written and directed by John Musker and Ron Clements

by Bill Chambers SPOILER WARNING IN EFFECT. With The Fox and the Hound and The Little Mermaid bookending an especially turbulent decade for a studio mortally locked in a struggle to reconcile its animation pedigree with its crass commercial instincts, the former has come to be regarded in the Disney mythology as the Good Friday to the latter’s Easter Sunday. It’s therefore fitting that the two films they most emulate are 1942’s Bambi and 1950’s Cinderella, respectively, as the Forties marked the last time the Mouse House was on the brink of foreclosure. (The Fox and the Hound goes so far as to recycle cels from Bambi.) Much like The Little Mermaid represented a somewhat cynical reboot of the fairytale default, so, too, was Cinderella a glorified salvage operation following the money-/audience-hemorrhaging pro bono work Uncle Walt did on behalf of FDR’s Good Neighbor policy. Alas, the Good Friday and Easter Sunday analogy applies to not just Disney’s phoenix-like resurrection but also the tonal and moral disparity between the two pictures: one is the sad truth; the other is wishful thinking.

Conan the Barbarian (2011)

*/****
starring Jason Momoa, Stephen Lang, Rachel Nichols, Ron Perlman

screenplay by Thomas Dean Donnelly & Joshua Oppenheimer and Sean Hood
directed by Marcus Nispel

by Walter Chaw It’s hard for me to hate on Marcus Nispel’s unwell Conan the Barbarian too much, mainly because its failings are more a matter of incompetence than of real malice. There are few pleasures as gratifying as Robert E. Howard’s testosterone-rich raving, and for a while there, the movie looks to have found the mad amplification that typified the Texan author’s best work. But when the wheels come off–and they come off right around the time that Conan’s dad, played by Ron Perlman (naturally), checks out–the whole mess goes careening off the proverbial cliff. If only the rest of the film were as mad as its opening, with a young Conan (Leo Howard) demonstrating his innate birthright to slay every single thing within arm’s reach by presenting two handfuls of severed-head to his thunderstruck village after a brutal scuffle in the forest. The level of lawlessness in its first half-hour is as legendary as the brilliant prologue to John Milius’s original, from Conan’s birth-by-unplanned-Caesarean on a raging battlefield to the presence of none other than Morgan Freeman, lured into a payday to provide solemn narration.