Category: External Movie DVDs (Page 16 of 74)

Better late than never, it’s your Friday and weekend movie news dump

Since I took a day off earlier in the week, I’ve got probably enough material for fifteen separate blog posts, but just one will have to do…

* Since about Wednesday (my day off) items about the upcoming Superman film being presided over by Christopher Nolan have been rolling out. First Latino Review broke the news in Spanglish that writer David Goyer, who has been involved with Nolan’s Batman franchise from the start, would be on board. Now IESB (via Bad Guy Wins) reports what it says are rumors that  the director of the Superman film will be Christopher’s writing partner brother, Jonah, making his directorial debut.

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That seems reasonable enough especially given that Nolan’s going to be busy with the third instalment in his Batman franchise. I get a bit more skeptical about the idea that Nolan will be sticking around to direct the long-mulled Justice League movie which would presumably include the new Supes (whoever he may be; sorry Brandon Routh), the current Batman (just as long as no one gets into his eyeline), and Ryan Reynolds’ Green Lantern, but I suppose anything is possible.

* I could spend the next week trying to figure this one, but negative PR campaigns against Best Picture Oscar nominees have become de rigeur in recent years and the shrapnel is flying in more than one direction around “The Hurt Locker.” First there were stories from Pete Hammond and a typically voracious Nikki Finke about anti-“Avatar” e-mail blasts by producer Nicolas Chartier. Today there was a far more substantive front page news story in the Los Angeles Times on some disagreements among military people about the film’s putative claims to authenticity. The most serious allegation — which doesn’t appear to be anywhere close to being proven — charges that the crew drove a Humvee into a Jordanian village in order to film angry locals.

Though I think quite highly of Paul Rieckhoff of Iraq and Afghanistan Veterans of America, a frequent guest on Rachel Maddow’s old radio show, I think his criticism is way off-base and was surprised to see him on the anti-“Hurt Locker” side. I don’t think anything in the film indicates that the dangerous-seeking behavior of Jeremy Renner’s character is supposed to be typical, but simply one person’s reaction to an insane situation. Still, it’ s easy to understand why some might kind of forget the movie, though attempting to mirror reality to some degree, makes no claims to being anything other than fiction.

Steve Pond covers the push-back by reporter-turned-screenwriter Mark Boal.

The Hurt Locker

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Here’s the problem with “Law Abiding Citizen”

**SPOILER ALERT**

Well, after reading David Medsker’s review over at Bullz-Eye, maybe there’s more than one problem with “Law Abiding Citizen,” but I rather enjoyed it, save for one thing.

Can a good thriller still be good if it’s based on a faulty premise? In the opening scene — and again, I feel compelled to write **SPOILER ALERT** here — Gerard Butler’s character (Clyde) witnesses the rape and murder of his wife and daughter. There were to men who invaded his home — Clarence Darby (who actually committed the rape and murders) and his accomplice Rupert Ames.

Fast forward to the deal that Jamie Foxx’s character (Nick) struck, and I’m confused. If he has Clyde as an eyewitness, why would he make a deal with Darby when he was the one who actually committed the most heinous acts that night? If Darby was prepared to cooperate but Ames was not, why not go to Ames (knowing that he’s the “less guilty” of the two) and say, “Look, if you don’t testify against Darby, he’s going to testify against you, and you’re going to get the death penalty. We know Darby is a bigger sh*t than you, so why not do everyone a favor and testify against him?” Is there anyone that wouldn’t take that deal?

This, coupled with Nick’s decision to shake hands with Darby at the ensuing press conference (knowing full well that he’s a rapist and murderer) sends Clyde off the deep end. The entire movie is based on this faulty premise.

On a side note, is it just me or does Butler have one of the worst American accents of all time? Between “Law Abiding Citizen” and “The Ugly Truth,” the guy just seems to have a tough time swallowing his Scottish accent. I like him as an actor, but I find his American accent incredibly distracting.

Good Hair

Sadly overlooked at the box office, Chris Rock’s documentary on black hair – and the billion-dollar industry built around it – is a fascinating, if tragic, look at what black women will do in order to “fix” their naturally curly hair. Rock examines the products that “relax” hair (which will eat an aluminum can in four hours), and the weaves that they buy as a means of getting around using the relaxer. (Raven-Symone actually pulls her weave out of place on camera.) Rock even travels to India to meet the people who collect the hair that’s used in weaves. There is a sub-story involving four stylists competing for a $20,000 prize at the semi-annual Bronner Bros. hair convention in Atlanta – one of whom, surprisingly, is a white boy – but it doesn’t quite gel with the rest of the movie. The meat of “Good Hair” comes from women discussing the hair tragedies they’ve suffered at the hands of relaxer (that asymmetrical haircut in Salt & Pepa’s video for “Push It”? Yep, the result of her hair falling out) and how they handle having sex while wearing a weave (“Stay on top”). And Rock, being an ace comedian, knows a good last line when he hears one, so he wisely lets noted philosopher Ice-T close the show: “I just think that women shouldn’t be pointing their fingers at other women for what they doin’ to help each others’ bodies. Other than that, do whatever makes you feel good, because trust me, if a woman ain’t happy with herself, she gonna bring nothin’ but pain to every-fucking-body around her.”

Click to buy “Good Hair”

New York, I Love You

Composed like a mini festival of short films on the subject of love, “New York, I Love You,” the second installment in the city-based anthology series, starts off strong before coming to a screeching halt. A majority of the best segments not only occupy the first half of the film, but they also have the most star power, including one by Jiang Wen starring Hayden Christensen and Andy Garcia as two men vying for the attention of a beautiful girl (Rachel Bilson); Yvan Attal’s playful two-parter (featuring Ethan Hawke, Maggie Q, Chris Cooper and Robin Wright Penn) about flirting with strangers; and perhaps most surprisingly, Brett Ratner’s charming tale of a young kid (Anton Yelchin) whose last-minute prom date (Olivia Thirlby) turns out to be more than meets the eye. Mira Nair’s segment about a Jain gem merchant (Ifran Khan) and Chassidic dealer (Natalie Portman) haggling over the price of a diamond (and bonding over religion) is also cute, but it probably would have made for a better full-length feature.

Portman also directs a segment that is easily one of the weaker entries in the anthology, while Shekhar Kapur’s story about a retired opera singer (Julie Christie) just doesn’t fit tonally with the rest of the film. The same can be said about Scarlett Johansson’s contribution, which was deleted from the theatrical cut and appears only as a special feature on the DVD. It’s probably a good thing it was removed, because with the exception of a hilarious final segment starring Eli Wallach and Cloris Leachman as an old married couple making their way to Coney Island for their anniversary, the second half of the film is a bore. It’s also a little strange to see Woody Allen, Martin Scorsese and Spike Lee sitting on the sidelines, because no one knows New York better than these guys. Maybe the producers will be smart enough to recruit them during their next visit to the Big Apple.

Click to buy “New York, I Love You”

Ice Castles

There are people who hold every movie from their childhood sacred to the point where the idea of remaking one of them is pure blasphemy. I am not one of those people. Now, that is not to say that I like remakes. More often than not, they’re a pale imitation of the original, but not because the source material is unimpeachable. No, it’s usually because of the story’s inability to adapt to the times (“Herbie: Fully Loaded”), or because the people involved with the remake have little regard for what people liked about the original (ahem, “Land of the Lost”).

Ah, but “Ice Castles,” that’s a perfect property to remake. The love story at its center is a sweet one, and the idea of a blind figure skater doing triple axels puts all of the true underdog sports movies of the 2000s to shame. And good for them that they didn’t try to make the movie more appealing by sexing it up – indeed, this is an innocent and squeaky clean a movie as you’re likely to see this year. Unfortunately, it’s also not very good.

Alexis Winston (Taylor Firth) loves to skate, and her boyfriend Nick (Rob Mayes) dreams of playing professional hockey. Lexi enters a local competition and catches the eye of a top-notch instructor Aiden (Morgan Kelly), who encourages her to come to Boston and train with him. Lexi becomes wildly successful but hates playing the fame game, and her busy schedule kills her relationship with Nick. When a fall on the ice leaves her blind, Lexi goes home to wallow in self-pity, but Nick encourages her to keep skating and believe in herself.

The way that Lexi and Nick are torn apart does not feel at all natural. Nick encourages Lexi to train under Aiden, then gets pissy when he can’t get her on the phone because she’s training every waking minute of the day. They set up Carrie Turner, a former student of Aiden’s, to be Lexi’s foe, but then she disappears for the final 40 minutes of the movie. Nick goes to see Lexi skate, and then spots her kissing Aiden on the lips. Nick, rightly, assumes they’re dating, but this is never really expanded on. It’s an awfully odd showing of affection if they’re not dating, and if they are…ewww. He’s twice her age, not to mention dating your pupils cannot be good for your image as an instructor. Either way, it’s poorly handled.

As is the accident that leaves Lexi blind. She leaves some swank party because she finds the whole business side of skating to be a chore, and heads out to a nearby frozen lake in order to skate her pain away. Someone makes a crack before she hits her head about her being desperate for attention, and they’re spot on. This appears to be their attempt at character development, or trying to establish that she, like Nick, is flawed, but their love is pure, or something. It doesn’t work. There is also a scene of Lexi and Aiden riding a snowmobile that doesn’t seem to have anything to do with anything else in the movie, except that they obviously felt as though they needed a bonding scene between Lexi and Aiden and/or a non-skating action sequence. There is a reference to a piece of music Lexi skates to, but we never find out its significance. (It’s revealed in the deleted scenes.) The whole thing is quite haphazard in its assembly.

Taylor Firth, however, does work. She’s cute as a button, and not a bad actress to boot. They dress her up like an extra from “Cats” at one point, but she’s immensely likable, even when she’s not on her best behavior. Rob Mayes has those non-threatening Zac Efron looks, but he’s pretty much unbearable until the last act. Fellow skater Molly Oberstar is given very little to work with as the snotty Carrie Turner, but she fares better than Michelle Kwan, who’s only playing a TV analyst but can’t get the inflection right.

There is no reason to think a spunkier but no less sweet version of “Ice Castles” wasn’t theirs for the taking, but this version isn’t it. The movie could have used some work all around, the editing in particular. It has the right tone, but no emotion. Pity.

Click to buy “Ice Castles”

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