Thriller Archives - Page 24 of 67

The Fury (1978) [The Limited Edition Series] – Blu-ray Disc

April 18, 20131970s, 2013, Authors: Bill Chambers, Blu-ray Disc, Directors: Brian De Palma, Espionage, Revenge, Sci-Fi, Teen, Thriller

***½/**** Image B- Sound B Extras D
starring Kirk Douglas, John Cassavetes, Carrie Snodgress, Charles Durning
screenplay by John Farris, based on his novel
directed by Brian DePalma

by Bill Chambers SPOILER WARNING IN EFFECT. While Brian DePalma is nothing if not a leitmotif filmmaker, it’s curious that he chose to direct The Fury right after Carrie. Imagine Spielberg following up Jaws with Orca–it’s like De Palma was begging to be pigeonholed. And it’s not surprising that The Fury wasn’t as zeitgeisty: it lacks the classical simplicity and youth appeal of Carrie, with almost no one in the cast under 30 save for future softcore legend Andrew Stevens and Carrie holdover Amy Irving, a good actress who just doesn’t have that X factor. But The Fury‘s echo can still be heard, because its ending is indeed that impactful. Nearly every review mentions it, and the terms in which Pauline Kael and her acolytes described it gave it a kind of porny rep that’s since inspired generations of young film buffs to seek the movie out. (Armond White called it an “orgasm.”) It is a great ending, but a revisit makes clear that The Fury is worth reading for the articles.

True Blood: The Complete Second Season (2009) + True Blood: The Complete Third Season (2010) – Blu-ray Discs

April 10, 20132000s, 2010, 2013, Authors: Walter Chaw, Blu-ray Disc, Comedy, Drama, Mystery, Romance, Television, Thriller, Vampire, Werewolf

Image A Sound A+ Extras B-
S2: "Nothing But the Blood," "Keep This Party Going," "Scratches," "Shake and Fingerpop," "Never Let Me Go," "Hard-Hearted Hannah," "Release Me," "Timebomb," "I Will Rise Up," "New World in My View," "Frenzy," "Beyond Here Lies Nothin'"

S3: "Bad Blood," "Beautifully Broken," "It Hurts Me Too," "9 Crimes," "Trouble," "I Got a Right to Sing the Blues," "Hitting the Ground," "Night on the Sun," "Everything Is Broken," "I Smell a Rat," "Fresh Blood," "Evil Is Going On"

by Walter Chaw "True Blood" is pulp crap. Yet as Bryant and Bill have already so eloquently pointed out, it's highly-addictive pulp crap–the sort of shallow, handsomely-mounted titillation that fosters the craze that sprung up around prime-time soaps like "Dynasty" and "Falcon Crest". White-collar smut that traffics in the currency of the age: once upon a time it was the super-rich, now it's the supernatural. Plus ça change, plus c'est la meme. It's certainly soapier than showrunner/creator Alan Ball's previous pay-cable drama, "Six Feet Under", but to its credit what "True Blood" does in returning sexuality–and gore, and (southern) Gothic trappings–to the vampire mythos, it does well. The shame of it is that it seems to be ashamed of itself and so continually strives for relevance in aligning the plight of its vampire underclass to gay rights. Bill said it first, but is the appropriate supernatural analogue to gays really vampires? Is it wise to suggest that gays present that same kind of sexual allure? The same kind of blood contagion? Doesn't that play into the Conservative storyline a bit too neatly? At least it's not "The Walking Dead".

The Pelican Brief (1993); A Time to Kill (1996); Primal Fear (1996) – Blu-ray Discs

April 2, 20131990s, Authors: Walter Chaw, Blu-ray Disc, Drama, Thriller

THE PELICAN
BRIEF
½/**** Image C+ Sound C+
starring Julia Roberts, Denzel Washington, Sam Shepard, John Heard

screenplay by Alan J. Pakula, based on the novel by John Grisham

directed by Alan J. Pakula

A TIME TO KILL
½*/**** Image B+ Sound B+
starring Sandra Bullock, Samuel L. Jackson, Matthew McConaughey, Donald
Sutherland

screenplay by Akiva Goldsman, based on the novel by John Grisham

directed by Joel Schumacher

PRIMAL FEAR
***/**** Image B Sound B+ Extras B
starring Richard Gere, Laura Linney, John Mahoney, Edward Norton

screenplay by Steve Shagan and Ann Biderman, based on the novel by
William Diehl

directed by Gregory Hoblit

by Walter Chaw Hand-in-hand with the digital revolution of the 1990s is
this backlash against the same as technical paranoia pictures like The
Net and Hackers cohabit multiplexes with
an epidemic of John Grisham adaptations. Starting with The
Firm in 1993 and running through to The Client (1994),
The Pelican Brief (1995), A
Time to Kill and The Chamber (1996), The
Rainmaker (1997), and The Gingerbread Man
(1998), these pictures share a deep interest in not just the low-grade
hackery of Grisham's declarative-prose style, but also super-secret
societies in the halls of power. Thus was limply resurrected the
paranoid New American Cinema. It was different this time around because
the ways our realities were being manipulated by the popular culture
and mass media were no longer a product of a governmental conspiracy,
but of a perceptual mutation.^* It's not about not trusting the
government (nobody has trusted the government since 1972)–it's about
not trusting the medium of film itself. Not surprisingly, directors who
carved out their reputations in the Seventies–like Francis Ford
Coppola, Robert Altman, and Alan J. Pakula–jumped on board the Grisham
train, finding familiar ground in his gallery of paper-based heroes
(lawyers, judges, newspapermen) and perhaps thinking they'd bought a
ticket back to relevance when in fact they were working in an odd
parallel phenomenon that would fail almost entirely to have any kind of
relevance or longevity. Instead of producing classics, these legends
were excavating mines they'd already exhausted three administrations
ago.

Wake in Fright (1971)

March 29, 20131970s, 2013, Australia, Authors: Angelo Muredda, Drama, Thriller

***½/****
starring Donald Pleasence, Gary Bond, Chips Rafferty, Jack Thompson
screenplay by Evan Jones, based on the novel by Kenneth Cook
directed by Ted Kotcheff

by Angelo Muredda As exploitation-movie titles go, Wake in Fright suggests a high-concept reversal of A Nightmare on Elm Street, where the only way to fall prey to bogeymen is to stay awake. It’s a bit of an odd sell, given the more abstract horror mined by Toronto-born filmmaker Ted Kotcheff, of both The Apprenticeship of Duddy Kravitz and First Blood fame. Far from Kravitz country in its Australian setting but still working in the same territory of young, ambling men who want to be somebody, Kotcheff’s earlier film–first screened in 1971 to both wild acclaim and great distaste from animal-rights activists, and somewhat forgotten until its resurrection in the “Ozploitation” documentary Not Quite Hollywood–is more interested in the terror of duration without purpose, of waking up when you have no good reason, than in anything so prosaic as a slasher. Elm Street it isn’t, then, but Kotcheff burrows into his haughty lead’s descent into himself–a stand-in for every thirtysomething man’s realization that his coming-of-age has already happened, to no discernible effect–with a nihilist precision that’s tough to shake off.

G.I. Joe: Retaliation (2013)

March 28, 20132013, Action, Adventure, Authors: Angelo Muredda, Espionage, Sci-Fi, Theatrical, Thriller

*½/****
starring D.J. Cotrona, Byung-hun Lee, Adrianne Palicki, Dwayne Johnson
screenplay by Rhett Reese & Paul Wernick
directed by Jon M. Chu

by Angelo Muredda While it's easy to snicker at a title sequence
that boasts of "Characters by Hasbro," G.I. Joe: Retaliation (hereafter Retaliation) is the kind of movie you root for. After the banality of
predecessor Stephen Sommers, John M. Chu is an inspired choice of director. This
is a guy who's made his name by bringing elegance and agility to his two
attempts at the surprisingly bullet-proof Step Up franchise.
There was reason enough, then, to hope his preference for long takes and
earnest interest in bodies in motion would translate to a franchise inspired by
a line of action figures. After all, such baubles are nothing if not fetish
objects, their biceps studied by the faithful with a mad love usually
reserved for dancers, matinee idols, and wrestlers. What better
meeting of the three than a project steered by the director of dance films and
anchored by Channing Tatum and Dwayne Johnson, née The Rock?

Zero Dark Thirty (2012) – Combo Blu-ray + DVD + Digital Copy

March 17, 20132012, Action, Authors: Angelo Muredda, Authors: Bill Chambers, Blu-ray Disc, Drama, DVD, Thriller, War

***½/**** Image A- Sound A+ Extras C
starring Jessica Chastain, Jennifer Ehle, Jason Clarke, Kyle Chandler
screenplay by Mark Boal
directed by Kathryn Bigelow

by Angelo Muredda As of this writing, the latest wannabe tastemaker to thumb his nose at Zero Dark Thirty is novelist and professional blowhard Bret Easton Ellis, who tweeted that critics lauding the film “need to admit that they’re admiring a morally indefensible movie.” With that, Ellis joins an army of self-deputized film writers who’ve taken issue on moral grounds with Kathryn Bigelow and Mark Boal’s treatment of the CIA’s decade-spanning manhunt for Osama bin Laden. While Ellis’s tasteless tweets about Bigelow’s appearance a few weeks back make his word suspect, it’s harder to dismiss Glenn Greenwald, the liberal firebrand whose initial survey of early praise for the film (then unseen by him) slammed Bigelow and Boal for glorifying torture. Incensed by the suggestion that crowd-sourcing knowledge about Zero Dark Thirty‘s representation of torture from the likes of David Edelstein constituted poor form, Greenwald soon saw the picture for himself and insisted that the viewing only confirmed his initial impressions: “[T]o depict X as valuable in enabling the killing of bin Laden is – by definition – to glorify X,” he observed, where X meant torture; woe to the “huge numbers of American viewers” about to be “led” down the filmmakers’ dim alleyways.

The Loneliest Planet (2012) – DVD

February 28, 2013****/****, 2012, Authors: Walter Chaw, Drama, DVD, Thriller

****/**** Image B Sound B- Extras C+
starring Gael Garcia Bernal, Hani Furstenberg, Bidzina Gujabidze
screenplay by Julia Loktev, based on the short story by Tom Bissell
directed by Julia Loktev

by Walter Chaw Julia Loktev's The Loneliest Planet
is an existentially terrifying little film about life's essential loneliness,
the absolute mutability of interpersonal relationships, and the ways our
identities are formed not only by our perceptions of others, but by our
preconceptions of the roles we play and, in turn, cast others to
play, unbeknownst to them or to anyone. It gives the lie to the
possibility of an unconditional relationship, to the idea that we can ever
truly know ourselves or the people with whom we choose to share our lives. Most
uncomfortably of all, it posits that everything we believe, everything we hold
most dear about who we are and who we think we are, can change in an instant. It's
about love in that way, but love only in the context of the brutal, capricious,
arbitrary world–love in the sense that we invest everything in it in acts of
faith entirely unjustified by Nature and circumstance. There's a scene in The
Loneliest Planet where two pairs of feet play with each other on top of a
sleeping bag, followed fast, after something small but terrible happens, by the
owner of one pair of those feet watching the owner of the other walk away and
eventually disappear into the ugly, insensate terrain of Russian Georgia's
Caucasus mountains. I think it's no accident that the film takes place there,
where mythology places Titan Prometheus in his eternal torment: Prometheus the
bringer of fire, and life, and foresight (literally, in his name)–the father
of Man flayed bare and reintroduced to the carnal night.

The Man Who Knew Too Much (1934) [The Criterion Collection] – Blu-ray Disc

February 20, 20131930s, 2013, Adventure, Authors: Walter Chaw, Blu-ray Disc, Directors: Alfred Hitchcock, Espionage, The Criterion Collection, Thriller, UK

***½/**** Image A Sound B Extras A+
starring Leslie Banks, Edna Best, Peter Lorre, Nova Pilbeam
screenplay by Charles Bennett, D.B. Wyndham-Lewis, Edwin Greenwood and A.R. Rawlinson
directed by Alfred Hitchcock

by Walter Chaw The first fascination of Alfred Hitchcock’s original The Man Who Knew Too Much is that when a dashing foreign agent (Pierre Fresnay) is shot just minutes into the film, it’s Jill (Edna Best), the wife in the heroic central couple, who’s privy to his last words. They’re dancing together in the middle of a ballroom that feels like a glass cage (naturally) when the dastardly deed is done, a married English woman on holiday with husband Bob (Leslie Banks) and daughter Betty (Nova Pilbeam), who look on approvingly. When Hitchcock remakes this movie 22 years later with Doris Day and Jimmy Stewart, he has Ugly American Jimmy (the one privy to the dying man’s last words) drug his hysterical wife in the first of many instances of Hitchcock undermining Stewart’s status as everyone’s favourite Yank. 1934’s The Man Who Knew too Much, like so much of Hitchcock’s British output (this is the first of his six films for Gaumont), remains current for scholars looking for tropes, images, sequences that prefigure his later work. The premature demise of what would have traditionally been the star of the picture (poor, dead Louis, also a champion ski-jumper) prefigures Psycho, of course, while the glass cages recur everywhere from Young and Innocent (which likewise features the musical plot point of this film) to Notorious to Hitch’s collaborations with Tippi Hedren. A gaze at the 34-minute mark through wrought-iron gates predicts the moment of discovery in Strangers on a Train, followed fast by a deliciously uncomfortable dentist sequence I’m surprised Hitch never came back to. Leave that, I suppose, to William Goldman and Marathon Man.

A Good Day to Die Hard (2013)

February 13, 20132013, Action, Authors: Walter Chaw, Theatrical, Thriller

½*/****
starring Bruce Willis, Jai Courtney, Sebastian Koch, Mary Elizabeth Winstead
screenplay by Skip Woods
directed by John Moore

by Walter Chaw A Good Day to Die Hard (hereafter Die Hard 5), or whatever the fuck it's called, teaches that the only thing anyone seems to know about what's left of the
Soviet Union is that something happened at someplace called
"Chernobyl," and whatever that something was, it had to do
with radioactivity. (Or Transformers.) It's a film that believes there's a magic
spray that neutralizes radiation; that bringing up father issues is the same
thing as depth; and that commissioning a screenplay from Skip Woods (the
asshole behind Hitman, Swordfish, X-Men Origins: Wolverine,
and The A-Team) is, hey, a great idea! Dreadful doesn't begin to
describe it–and consider that I've liked, really liked, three of the previous
four movies in this franchise, to the extent that the direction the last film
took in suggesting the John McClane character is a Terminator felt to me
pleasantly self-knowing, even brilliant. I wanted, desperately, to like this thing, but by the tenth or eleventh time McClane shook his grizzled head and
muttered "Jesus" gravely under his breath (that is, around thirty minutes in), I checked out for good. Die Hard 5 is also the kind of
movie that has its foreign bad guys speak English to one another even when
they're alone; it features an extended, much-hyped car chase to nowhere with no
sense of space or innovation before finally just settling on a series of
explosions as lazy and disinterested as the way Bruce Willis fires off a
million rounds nowadays. Apathetic isn't the same thing as cool, and Willis,
let's face it, ain't trying anymore.

Side Effects (2013)

February 7, 20132013, Authors: Angelo Muredda, Directors: Steven Soderbergh, Theatrical, Thriller

***/****
starring Jude Law, Rooney Mara, Catherine Zeta-Jones, Channing Tatum
screenplay by Scott Z. Burns
directed by Steven Soderbergh

by Angelo Muredda Whatever you may think of the distinctive yellow patina that creeps across his filmography, Steven Soderbergh is something of a chameleon artist, prone to the compulsive shape-shifting that’s led some to mischaracterize commercial work like the Ocean’s series as mere Hollywood capital to be cashed in on ambitious curios like Bubble. If anything, it’s the Ocean’s movies that most bear his signature in their attention to complex systems run amok and their indulgence of postmodern genre pastiche, which recur in projects as disparate as Haywire and Magic Mike. Both tendencies are in full force in psycho-thriller Side Effects, ostensibly the last of Soderbergh’s theatrical releases and in many ways the most quintessentially Soderberghian despite its impersonal subject. It’s an unusual swan song, but perhaps the ideal one for a director who’s always revealed himself in his formalist rigour, the conspicuous act of emptying out his idiosyncrasies into preexisting generic containers–in this case, half a dozen of them.

The Postman Always Rings Twice (1946) + The Rains of Ranchipur (1955) [The Limited Edition Series] – Blu-ray Discs

February 1, 20131940s, 1950s, 2013, Authors: Jefferson Robbins, Blu-ray Disc, Crime, Drama, Romance, Thriller

THE
POSTMAN ALWAYS RINGS TWICE
***/****
Image B+
Sound A
Extras A
starring Lana Turner, John
Garfield, Cecil Kellaway, Hume Cronyn
screenplay by Harry Ruskin
and Niven Busch, based on the novel by James M. Cain
directed by Tay Garnett

THE
RAINS OF RANCHIPUR
**½/****
Image A
Sound A
Extras B
starring Lana Turner,
Richard Burton, Fred MacMurray, Michael Rennie
screenplay by Merle Miller,
based on the novel by Louis Bromfield
directed by Jean Negulesco

click
any image to enlarge

by
Jefferson Robbins There's a series
of doublings in The
Postman Always Rings Twice, Lana Turner's best-known
vehicle, that
illuminate its obscure title. Disillusioned young wife Cora Smith
(Turner) and
drift-through handyman Frank Chambers (John Garfield) try twice to make
way for
their illicit love by eliminating her diner-impresario husband, Nick
(Cecil
Kellaway). There are two court cases steered by suspicious chief
prosecutor
Sackett (Leon Ames) and defended by wonderfully shifty lawyer Arthur
"I'm
Handling It" Keats (Hume Cronyn). There are two moonlight swims, each a
turning
point in the criminal couple's courtship. Twice the action bends when
ailing
female relatives, never seen, summon a main character to their
sickbeds. There
are even two roadside-diner femmes fatale: Cora,
and her
double Madge (Audrey Totter), who diverts Frank while he's on the outs
with the
woman he killed to obtain. Finally, the murder itself creates a literal
echo.
These aren't anvils falling from the heavens, but instead
the patterns
life presents only in retrospect: This moment, that
day, that was
when God was trying to get my attention. Like Frank, we're too
preoccupied to
ever hear the first ring.

The Client (1994) – Blu-ray Disc

January 29, 20131990s, 2013, Authors: Walter Chaw, Blu-ray Disc, Drama, Thriller

*/**** Image A Sound B Extras D
starring Susan Sarandon, Tommy Lee Jones, Mary-Louise Parker, Brad Renfro
screenplay by Akiva Goldsman, based on the novel by John Grisham
directed by Joel Schumacher

click any image to enlarge

by Walter Chaw Joel Schumacher's The Client starts out like a sequel to Schumacher's own The Lost Boys, as two little boys (one
of them Brad Renfro) try out cigarettes and John Grisham's awful dialogue
(augmented by awful screenwriter Akiva Goldsman) in a
verdant backwoods Eden before witnessing the suicide of mob lawyer Jerome
Clifford (Walter Olkewicz). "Romey" is despondent, see, because he
knows where mobster Muldano (Anthony LaPaglia) has buried a body. Because
little Mark (Renfro) spent quality time with the goombah before his voyage to
the great Italian restaurant in the sky, Mark is now Little Italy's
most-wanted. Cut to Muldano polishing off a Shirley Temple–judging by
the way Schumacher makes love to the maraschino cherry between LaPaglia's teeth–at
a sleazy New Orleans nightclub to complete the impression that all
schlockmeister Schumacher ever wanted to make was variations on
arrested-vampire movies. At least it sports Will Patton in a supporting role
back when he was a well-kept secret. And JT Walsh, and William H. Macy, and
Mary-Louise Parker. Plus, Anthony Edwards, Bradley Whitford, Ossie Davis, Dan
Castellaneta, William Sanderson…

Notorious (1946) – Blu-ray Disc

January 6, 2013****/****, 1940s, 2012, Authors: Walter Chaw, Blu-ray Disc, Directors: Alfred Hitchcock, Espionage, Romance, Thriller

****/****
Image B Sound B- Extras C+
starring Cary Grant, Ingrid Bergman, Claude Rains, Louis Calhern
screenplay by Ben Hecht
directed by Alfred Hitchcock

by Walter Chaw Other than Psycho, the most examined, most carefully raked-through picture in Hitchcock’s filmography might be the cold, meticulous, perfect Notorious. It serves as a model for technique, offered as the pinnacle of Hitchcock’s early American period and used as proof by some that Hitch was a misogynist. The Dark Side of Genius author Donald Spoto wrote a fitfully interesting (if ultimately useless) article about how the first half of the film is a mirror image of the second–rising to a midpoint before diminishing at the end to the same composition as the first shot. (I’d argue that you could say the same for Shadow of a Doubt–particularly during the movie’s character-/setting- establishing sequences.) Stories of how the FBI began a file on Hitch because of his prescient use of uranium as his MacGuffin in Notorious are among the most beloved Hitch arcana, and critics who favour Lacan as the prism through which to analyze the Master of Suspense have found in the picture compelling demonstrations of spectatorship and gender construction. For Freudians, it has its Oedipal elements, its Madonna/Whore complexities–it’s a very fine historical relic, one of maybe only two of the director’s films (the other being Shadow of a Doubt) that’s ever entered into a noir conversation. And at the end–among those in the know, at least–it’s the better version, in every way that matters, of Casablanca. Robin Wood writes a brilliant piece on it in his second Hitchcock book, taking on previous brilliant takes by Laura Mulvey, Raymond Bellour, and Michael Renov. I probably like Raymond Durgnat’s quick-hit the best, however, for his pegging of the picture’s iciness and of Hitch at this moment as midway between idealistic and cynical (though I’d go farther and say he’s pretty much all the way cynical by now). Notorious is possibly, neck-and-neck with Vertigo, the best film Hitchcock ever made, though it’s seldom identified–unless you’re Francois Truffaut–as anyone’s favourite (leave that for the bitterest (North by Northwest), the most nihilistic (Psycho), the least sick (Rear Window)), and when the dust settles, the prospect of writing about it is almost as intimidating as pretending that there’s anything new to say about it. But here goes.

The Bourne Legacy (2012) – Blu-ray + DVD + Digital Copy + Ultraviolet

December 11, 20122012, Action, Adventure, Authors: Bill Chambers, Authors: Walter Chaw, Blu-ray Disc, DVD, Espionage, Japan, Thriller

½*/**** Image A+ Sound A Extras B-
starring Jeremy Renner, Rachel Weisz, Edward Norton, Stacy Keach
screenplay by Tony Gilroy & Dan Gilroy
directed by Tony Gilroy

click any image to enlarge

by Walter Chaw By the end of Tony Gilroy's unbearably long and talky The Bourne Legacy, one is left feeling as though the film hasn't even started yet. Nothing happens in it, and the only thing it inspires is anticipation: it's all first act; all supplementary material; all self-importance and hot air. Jason Bourne (Matt Damon) sits this one out while another similar soldier, Aaron Cross (Jeremy Renner), occupies a space parallel to the first three films, climbing mountains, Grey-ing wolves, and saving hot virologist Dr. Marta (Rachel Weisz) from the clutches of our evil government so that she can infect him with a virus that makes him smart. This leads to a moment, inevitable, where Cross suggests that losing 12 points off his artificially-inflated IQ would result in some personal "Flowers for Algernon" apocalypse where 12 points would probably result in him forgetting his phone number at worst. It also leads to a series of incoherent flashbacks that fit in perfectly with Gilroy's impossible-to-follow action sequences; if you're just going to turn a camera on and throw it out a window, why bother trying to set it up? For those keeping score, there are more spinning Lazy Susan shots here than in Transformers: Asshole. You've been warned.

The Big Heat (1953) – Blu-ray Disc

December 6, 2012****/****, 1950s, 2012, Authors: Walter Chaw, Blu-ray Disc, Gangster, Mystery, Thriller

****/**** Image A Sound C+ Extras B
starring Glenn Ford, Gloria Grahame, Jocelyn Brando, Alexander Scourby
screenplay by Sydney Boehm, based on William P. McGivern's SATURDAY EVENING POST serial
directed by Fritz Lang

by Walter Chaw The pinnacle of Fritz Lang's American noir output, The Big Heat vacillates between hard-bitten and surprisingly tender. A movie of dualities, it positions Glenn Ford's Det. Sgt. Bannion on
the liminal borders between dialectic states: he presents a familiar hardboiled
veneer on the one side, a broken, exhausted, eventually devastated family man
on the other. The picture partitions noir bodily, forcefully into the margins of
the gender divide, and it confronts, full-on, the popular conception of the
'50s nuclear family. It appears fully formed, an irritant to the hegemony of
the American myth of nuclear/consumer nirvana, and it suggests that the cultural
upheaval that would result in the helter-skelter '60s started showing its
fatigue early. The Big Heat is Rebel Without a Cause, except the
mother is killed and the gay kid lives.

The Dark Knight Rises (2012) – Blu-ray + DVD Combo Pack

December 3, 20122012, Action, Adventure, Authors: Walter Chaw, Crime, Directors: Christopher Nolan, Disaster Movie, Drama, Superhero, Thriller, UK

***½/**** Image A- Sound A+ Extras A-
starring Christian Bale, Michael Caine, Gary Oldman, Anne Hathaway
screenplay by Jonathan Nolan and Christopher Nolan
directed by Christopher Nolan

click any image to enlarge

by Walter Chaw For all its overreaching (and what's perilously close to a training montage), Christopher Nolan's The Dark Knight Rises is fascinating, engaging, and aggressively present. It's a wonderfully-performed melodrama about the sad, intractable state of our sorry state, painted in broad strokes in a muted palette. It's what many would think impossible despite the evidence of its predecessor: a comic book for grown-ups. And it accomplishes what it sets out to do without much in the way of action sequences or hero moments–the irony being, of course, that The Dark Knight Rises is fated to become the best-reviewed and most-lucrative release of 2012 for having the very same qualities for which the deeply-underappreciated Superman Returns was lambasted. I would argue that a wide swath of the people who will adore it will have difficulty articulating exactly why.

Shallow Grave (1995) [The Criterion Collection] – Blu-ray Disc

December 2, 20121990s, 2012, Authors: Jefferson Robbins, Blu-ray Disc, The Criterion Collection, Thriller, UK

**½/**** Image A+ Sound A Extras A
starring Kerry Fox, Christopher Eccleston, Ewan McGregor, Ken Stott
screenplay by John Hodge
directed by Danny Boyle

by Jefferson Robbins The title, in retrospect, is an indictment. Danny Boyle’s debut feature Shallow Grave made a splash both in the UK and abroad, but his flatmate protagonists are so thin and hastily sketched, their interfaces with the world beyond their stylish fourth-floor walk-up so glancing and limited, that even the inevitable comeuppances for their bad behaviour don’t interest us much. When three striving young Edinburgh roommates happen into a questionable cash windfall and run afoul of brutal gangsters and nosy coppers, the real marvel is that we’re buffaloed into caring by some forthright performances and by Boyle’s visually striking helmsmanship. The characters’ motivations beyond the suitcase MacGuffin are pretty much absent: They’re fatally shallow, with grave consequences. Boyle misdirects us away from these concerns, already hinting towards the vertiginous risks he’d take two years later with Trainspotting (there’s even a creepy animated baby, of a sort), and his cast is frighteningly talented and appealing. Yet it’s hard to shake the notion that we’ve unwrapped a prettily-wrapped gift package containing nothing but socks.

Batman: The Dark Knight Returns, Part 1 (2012) – Blu-ray + DVD + Digital Copy

November 11, 20122012, Action, Animation, Authors: Jefferson Robbins, Blu-ray Disc, DVD, Superhero, Thriller

**½/**** Image A Sound A Extras B+
screenplay by Bob Goodman, based upon the graphic novel by Frank Miller and Klaus Janson
directed by Jay Oliva

by Jefferson Robbins There's
nothing left. Batman: Year One is so last year, The Killing
Joke basically got turned into The Dark Knight, and "Watchmen" has become both a big-movie flopola and a prequel
comics series. With Batman: The Dark Knight Returns, Part 1 on shelves
now and its concluding Part 2 due on direct-to-video disc this winter,
the DC Universe has basically wrung itself dry of compelling product from the
'80s comics revolution that it can repurpose into features and animated
editions. The bones remain for new stories, but the cost-benefit on original
work vs. revivified fan favourites ever tilts towards the latter. Those of us
who discovered or returned to superhero comics as a result of Frank Miller's and
Alan Moore's mature deconstructions are seeing their final fruits. The only
burning question is how many shmoes bought this package from Amazon thinking
they were getting The Dark Knight Rises in half of a special two-disc edition.

Skyfall (2012)

November 7, 20122012, Action, Adventure, Authors: Walter Chaw, Crime, Espionage, James Bond, Theatrical, Thriller, Turkey, UK

**/****
starring Daniel Craig, Javier Bardem, Ralph Fiennes, Judi Dench
screenplay by Neal Purvis & Robert Wade and John Logan
directed by Sam Mendes

by Walter Chaw For me, the James Bond films are the literalization of a very particular Conservative fantasy in which a suave, quippy, emotionally-arrested sociopath battles Cold War foes, beds beautiful women without consequence, always has the latest technology, and engages in the endless murder of foreigners. Just suggesting a "license to kill" reveals a certain level of arrogance; and it's their confrontation of the noisome wake left by those attitudes that makes On Her Majesty's Secret Service and the more recent Casino Royale the powerhouses that they are. Skyfall, the latest in the decades-spanning series, tries but fails to do the same. A good part of the problem can be traced back to non-action director Sam Mendes (superseding Marc Forster, non-action director of the disastrous Quantum of Solace), who, in trying to honour the visceral requirements of the genre, finds himself unable to produce either a meaty melodrama or a capable action vehicle.

Strangers on a Train (1951) [Two-Disc Special Edition] – DVD|Blu-ray Disc

October 31, 2012****/****, 1950s, 2012, Authors: Bill Chambers, Authors: Walter Chaw, Blu-ray Disc, Crime, Directors: Alfred Hitchcock, Drama, DVD, FFC Must-Own, Thriller

Strangers5

****/****
DVD – Image A Sound A Extras B
BD – Image A- Sound A Extras B
starring Farley Granger, Ruth Roman, Robert Walker, Leo G. Carroll
screenplay by Raymond Chandler and Czenzi Ormonde, based on the novel by Patricia Highsmith
directed by Alfred Hitchcock

by Walter Chaw SPOILER WARNING IN EFFECT. Alfred Hitchcock’s queerest film (Rope notwithstanding) and proof positive of the director’s knack for casting men of ambiguous sexual mooring in roles that cannily exploit it, Strangers on a Train, shot in vibrant contrasts by the great Robert Burks, is best read as a dark comedy–a noir in the most perverse sense of the term. Find in it the finest performance by troubled Robert Walker, tormented to his grave by David O. Selznick’s infatuation with and eventual theft of wife Jennifer Jones and committed, not long after Strangers on a Train finished shooting, to a mental institution, where he was the victim of an accidentally-lethal dose of sedative. Playing a character named after the kidnapper and murderer of the Lindbergh baby, Walker is Bruno, a spatted dandy who bumps shoes with hero Guy (Farley Granger–the “girl” in the Rope dyad) on a train and ostensibly hatches a plan with the pliant tennis star to “criss-cross” murders (trade assassinations, as it were), freeing each of them from the burden of blood motive. Bruno wants his father dead; Guy, involved in a very public affair with the senator’s daughter Anne (Ruth Roman) but shackled to loathsome Miriam (Kasey Rogers), would benefit from Miriam’s timely demise. So when Miriam turns up dead by Bruno’s hand, Guy is trapped by circumstance into either murdering Bruno’s dad or going to the police and implicating himself and his lover in a conspiracy.