Category: Movie DVD Quicktakes (Page 16 of 41)

Penn & Teller Get Killed

Most people have never heard of “Penn & Teller Get Killed,” let alone seen it. Whether or not it ever even had any sort of theatrical run I’m unsure, but it’s managed to amass a minor cult following on home video over the years, which makes it an ideal title for the Warner Brothers Archive series. Playing fictitious versions of themselves, it kicks off with Penn & Teller appearing on a late-night talk show, where Penn announces that he wishes someone were trying to kill him, as it would bring some meaning to his life. Before long, it appears that someone may be taking him up on the request, yet the pair has been playing an escalating series of practical jokes on one another. Is the death threat against Penn one of Teller’s elaborate ruses, or is it the real deal?

There isn’t much more to the plot than what’s written above, and the screenplay, which was penned (ahem…) by the duo, is mostly a showcase for their oddball talents and dark personalities. It elicits at least a handful of genuine chuckles, and in the final reel, delivers an unusual, quirky sense of dread as it lives up to its title. It’s difficult to recommend to anyone who isn’t a fan, as this isn’t going to turn you into one, and yet it’s a noteworthy minor pop culture history lesson: the Penn & Teller of the movie are far removed from the Penn & Teller of today. Yes, there actually was a time when these guys were all about having a good time and entertaining the audience, as opposed to the bloated Libertarian windbags they are today.

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That Hamilton Woman

That Hamilton Woman

This 1941 historical biopic from producer-director Alexander Korda about the illicit affair between the heroic nemesis of Napoleon, Admiral Horatio Nelson (Laurence Olivier), and the vivacious Lady Emma Hamilton (Vivien Leigh) benefits from the magnificent production design of Vincent Korda and some extra acting oomph drawn from a real-life adulterous affair between its two A-list stars. On the other hand, there’s an idea out there that it has been unjustly dismissed ever since its release as ponderous wartime propaganda and an overblown romance. I might say exactly the same thing, minus the “un.”

Essentially commissioned by wartime British Prime Minister Winston Churchill, who later proclaimed it his favorite movie, “That Hamilton Woman” suffers from some ham-fisted parallels between Hitler and Napoleon as well as a certain amount of hypocrisy on the question of empire. (English colonialism good! French colonialism bad!) Far worse for the movie’s entertainment value, however, is its tediously stolid hero, an awful lot of gassy romantic dialogue, ponderous pacing, and an excessive 125 minute running time. On the plus side, the young Vivien Leigh, fresh off “Gone With the Wind,” is allowed to show her powerfully sexy and funny sides, and the film’s relative frankness in dealing with an open adulterous affair is something of a miracle considering that this British production was shot in the U.S. and made under American censorship. Nevertheless, the extras on this typically crisp Criterion DVD make the case that the making-of story here is far more engaging than the actual movie.

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Superman/Batman: Public Enemies

DC Premiere’s latest animated movie, “Superman/Batman: Public Enemies,” isn’t so much a movie as it is a really long episode of “Justice League of America.” Based on the six-issue limited series by Jeph Loeb and Ed McGuinness, “Public Enemies” finds the country in such a terrible state of distress that the people are willing to elect Lex Luthor as their new president. When Luthor begins enlisting superheroes to work for the government, Superman becomes suspicious of his ulterior motives. Using the impending arrival of a meteor from Krypton as a distraction, Luthor frames Superman for the murder of Metallo and places a $1 billion bounty on his head. Now, every villain from Silver Banshee to General Grodd is hot on his trail, and the only person willing to take his side is his good friend Batman. Unfortunately, the movie is so damn short at a mere 67 minutes that Batman is hardly given his time to shine. In fact, while he may share top billing with the Man of Steel, this is first and foremost a Superman movie. Not that Superman fans will complain, but for those hoping to see a little more from the Caped Crusader, prepare to be disappointed. The public enemies of this film aren’t the titular superheroes, it’s the suits in charge of putting together this half-assed adventure.

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Sin Nombre

You’ll want to watch the DVD of writer-director Cary Joji Fukunaga’s acclaimed feature debut on the biggest television set you can find. That’s not only because this film is full of astonishing Latin American location work from a newcomer with a stunning camera eye, but also because Universal saw fit not to make new subtitles for the DVD version of the film, leaving us with only the tiny, eye-strain inducing subtitles from the theatrical release. That technical annoyance aside, this blend of social drama, action-thriller and love story unites American filmmaking slickness with what feels like an insider’s view of the brutal travails of Central American immigrants and the sickness of life inside today’s gangs. The story brings together a heartbroken Mexican gangbanger on the run (Marco Antonio Aguirre) and an innocent Honduran teen (Paulina Gaitan) trying to unite with family in New Jersey in an involving and violent story that does a fine job of humanizing the “illegal immigrants” that fill the fevered imagination of America’s right wing.

On his first feature (produced by the “Y Tu Mama Tambien” twosome of Diego Luna and Gael Garcia Bernal), Berkeley, California-bred writer-director Fukunaga has made an impossibly slick, extremely well-acted combination of indie subject matter and mainstream style that involves us with strong characterization, fine acting from a cast of unknowns, and visual brilliance. Even if “Sin Nombre” ultimately doesn’t quite justify the heartrending journey the film takes us on, it’s a mightily impressive debut that will inspire young filmmakers and seriously anger Lou Dobbs — two highly praiseworthy achievements.

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The Tiger’s Tail

Writer-director John Boorman (“Deliverance,” “Excalibur,” “Hope and Glory”) has never been afraid of taking chances, and that definitely continues in this witty, suspenseful, and flawed 2006 thriller-cum-family drama. “The Tiger’s Tail” reteams Boorman with his lead actor from 1998’s “The General,” Brendan Gleeson (“In Bruges,” “28 Days Later“). This time, Gleeson is a renowned Dublin real estate capitalist with a calm but frosty marriage to wife Kim Cattrall, a strained but affectionate relationship with his Marxist teenage son (Briain Gleeson, the character actor’s actual offspring), and a business on the edge of collapse. All of that, however, is just par for the course until an exact double turns-up and appears bent on the most extreme form of identity theft.

As you might expect, this is a tale full of twists and turns. Unfortunately, several of them are weirdly contrived (think “Trading Places” meets “Ordinary People” with a distasteful dash of “Straw Dogs”) and many moments are just plain overheated –- at times Boorman seems to want to bludgeon us with composer Stephen McKeon’s score. Still, “The Tiger’s Tail” is salvaged by plentiful tension, humor, heart, and some very good performances, not only from Gleeson in a showy dual role, but also from son Briain and an especially moving turn by veteran actress Sinead Cusack. Best of all is a conclusion that takes the film to a place very few thrillers go. In his mid-seventies, Boorman remains a big-hearted filmmaker and this is a messy but big-hearted film.

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