Category: Movie Comedies (Page 161 of 195)

Blu Tuesday: Pinocchio, Let the Right One In and The French Connection

Welcome to the latest column on Premium Hollywood, Blu Tuesday, where I’ll be covering some of the best and biggest high-def titles of the week. For those hoping this was a post about a New Order/Rolling Stones tribute band, I apologize, but you’ll have to keep holding your breath for that one, whoever you may be.

You see, when Blu-ray first hit the market, there weren’t very many titles to talk about other than the new releases that were already coming out on DVD. Now that the format is more popular with studios, however, my office has become overrun with high-def titles, and well, I just don’t have the time to cover every one in as much detail as I’d like. That doesn’t mean they don’t deserve to be covered at all, however, and so I’ve created this column to help cleanse my conscience (and some office space) and keep you all in the know on some Blu-rays you might be looking forward to, as well as a few others you should add to your shopping list.

“Pinocchio” (Walt Disney)

One of my least favorite Disney classics after “Dumbo” and “Bambi,” “Pinocchio” is still a no-brainer when it comes to diehard collectors and fans of animated films. It’s been years since Disney last released this from their ominous vault and so they’ve not only put out a new DVD edition to celebrate the occassion, but a high-def version as well. As expected, the new digital restoration is incredible. The colors pop off the screen like they were freshly painted, and were it not for the fact that hand-drawn animation is virtually extinct, you’d swear this was made yesterday. The best part about the three-disc set, though, isn’t the new transfer or the fact that you get three different versions of the movie (Blu-ray, DVD and a digital copy), but the hours of bonus material that have been lovingly crammed onto the disc. You get all the usual stuff that you’d expect from a typical new release (audio commentary, making-of, deleted scenes), but somehow they just feel more special on a movie this old.

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A Chat with Joe Lo Truglio (“The State,” “Role Models”)

If the words “rub a dub dub” conjure images of a bearded man in chain mail rather than three men in a tub, then you’re probably one of the people who saw and laughed at “Role Models.” The film was directed by (and features a cameo from) David Wain, late of The State, but he’s not the only alumnus of that particular comedic organization to be found within its frames. There are actually a couple, if you’re counting, but only one managed to spend the duration of the film dressed in Medevial garb and spouting laughably earnest comments using mock Elizabethan phrasing…and – what luck! – we actually had the opportunity to speak to the gentleman in question.

Stay tuned for…

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The Films of Michael Powell

England’s Michael Powell was a rare twofer as a director – both a great visual stylist and one of filmmaking’s most adept and original storytellers. While movie history played some very nasty tricks on Powell, depriving him of his rightful status alongside such contemporaries as Alfred Hitchcock and David Lean, his cult continues to grow. Indeed, after a day or two watching this package of two rare films making their long-overdue DVD debuts, you might be joining me for some genius-spiked Kool-Aid.

The first of half of this stunning double bill is 1946’s “A Matter of Life and Death,” one of a number of classics Powell made with Emeric Pressburger, his long-time filmmaking partner with whom he shared writing, producing, and directing credits. Originally released in the U.S. as “Stairway to Heaven,” this post-war romantic fantasy features a young David Niven as a downed RAF pilot whose apparently impossible survival and subsequent love affair with a sweet-natured American (Kim Hunter) arouses celestial interference from the heavenly powers that be – or, perhaps, that what he’s imagining, as a brilliant neurologist (Powell/Pressburger favorite Roger Livesey) grows increasingly concerned about his apparent hallucinations. This might sound like familiar romantic comedy-drama material, but there is a reason this was Powell’s personal favorite of all his films. It is a cinematic brew so rich and strange that on some levels it feels like a rom-com “Pan’s Labyrinth”; this one sneaks up on you.

“Age of Consent” isn’t on the same exalted level, but despite a shaky start and some unfortunate choices, it’s still aces. This rapturous, and often very funny, 1969 tale of initially semi-platonic May-December love stars then-newcomer Helen Mirren (“The Queen,” “Prime Suspect”), as a 17-year-old Aussie island waif, and aging star James Mason as a painter in need of inspiration. Far less giggle or squirm inducing than you could possibly imagine, “Age of Consent” appears to have been the first major-studio film to feature significant nudity (provided, of course, by Ms. Mirren). Despite hitting it big in Australia, it was butchered for its worldwide release and has been almost impossible to see ever since. Fortunately, this DVD does Powell’s last feature proud, including charming reminiscences from the now Queen-aged Ms. Mirren and Powell’s close late-life friend and number one fan, Martin Scorsese.

Click to buy “The Films of Michael Powell”

If Patrick Warburton’s going to Hell, he’s taking a lot of viewers with him

Bullz-Eye was fortunate enough to score an opportunity to speak with Patrick Warburton on the occasion of his CBS series, “Rules of Engagement,” returning to its 9:30 timeslot within the network’s Monday night comedy line-up.

We did not, however, limit ourselves to discussing that particular show.

In addition to conversations about Warburton’s roles on “NewsRadio,” “The Venture Brothers,” in “Get Smart” and “The Emperor’s New Groove,” and, of course, as the title character of the live-action TV version of “The Tick,” we also asked him about his long-running role on “Family Guy” as Joe, the paraplegic cop whose wife, Bonnie, finally gave birth.

“You know, my mother actually thinks my soul is in peril for being on that show, and after I watched last Sunday’s episode, I thought, ‘Geez, maybe she’s right. Joe’s getting his diaper changed…and I am going to hell for being on this show.’ You know my rationalization is that it is just absurd, crazy humor, and…what the fuck. It is a deplorable show. It’s horrible.”

Well, it’s all a matter of opinion.

Check out the rest of Bullz-Eye’s chat with Patrick Warburton by clicking here…or, of course, by clicking the big graphic below:

Futurama: Into the Wild Green Yonder

“Futurama” goes out with a bang on “Into the Wild Green Yonder,” their fourth and supposedly final full-length movie. As Leo Wong begins construction on a galaxy-wide miniature golf course that will require the destruction of a dwarf star, Leela joins a group of eco-terrorists to stop him, while Fry inherits mind-reading abilities that enable him to battle the Dark Ones as they plot the star’s destruction. It’s a typical, gleefully labyrinthine “Futurama” story, but for the first time in these DVD movies, they’re more focused on having fun than being overly clever (compared to, say, “Bender’s Big Score,” where the writing staff was just showing off). They also have a great time setting up the apparent deaths of several characters, and gave the fans a happy, though open-ended, finale. Bravo, gentlemen. Oh, and the smooth crooner that sings the opening number? That would be Seth McFarlane. Yes, that Seth McFarlane.

Click to buy “Futurama: Into the Wild Green Yonder”

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