Category: Movie DVD Quicktakes (Page 22 of 41)

Baghead

Four struggling L.A. actors retreat to a mountain cabin to write themselves some work via a zero-budget screenplay, but things take a meta-not-quite-horror turn in the Duplass Brothers’ follow-up to their “mumblecore” festival circuit hit, “The Puffy Chair.” Billed as a kind of comedy-horror film, “Baghead” starts out strongly, poking knowledgeable fun at the indie film scene, but takes way too long developing the uninteresting tangle of relationships, real and imagined, between buddies Matt (Ross Partridge) and Chad (Steve Zissis) and their respective not-exactly-dates, Catherine (Elise Muller) and Michelle (the ultra-cute Greta Gurwig of “Hannah Takes the Stairs”). By the time a seriously tipsy Michelle thinks she’s dreamed of a creepy slasher with a bag over his head, and that becomes the subject of the screenplay the foursome imagines they might work on, we’ve lost a great deal of interest. Even when an actual dude with a lunch bag over his head starts appearing, the dramatic juices never really flow. While “Baghead” eventually regains some steam, it’s pretty much the opposite of scary – and I’m rather easily scared – and not even close to funny or compelling enough to rate a recommendation, despite a sweet-natured ending, some laughs early on, lots of good intentions, and some very decent performances. It might, however, make an interesting point of comparison when the possibly-meta super secret Joss Whedon/Drew Goddard collaboration, “The Cabin in the Woods,” comes out next year.

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Who Killed the Electric Car?

With a share of General Motors running just a bit above the price of a single Hot Wheels car, this seems like an opportune time to catch-up with this surprisingly upbeat 2006 documentary covering perhaps the worst single piece of corporate strategy in business history. Directed by first-timer Chris Paine, with assists from big-time executive producer Dean Devlin and super-documentarian Alex Gibney, “Who Killed the Electric Car?” starts off as an earnest, L.A.-centric, paean to the efforts of activist drivers to fight GM’s very literal trashing of the all-electric EV-1 — launched in 1996 on a lease-only arrangement after California emissions rules forced auto companies to explore non-polluting vehicles. After spending time with such once-satisfied EV-1 customers as actors Mel Gibson, Tom Hanks, Peter Horton, Alexandra Paul, and comedienne Phyllis Diller, the film switches gears to becomes a far more interesting industrial whodunit, examining the corporate and the political forces that led to the car’s passive-aggressive treatment by GM.

Conservatives will likely be irked that the Bush Administration and the oil companies figure prominently as suspects, and will also note that the film is narrated by well-known lefty Martin Sheen. Nevertheless, Paine’s film takes a healthily bipartisan approach and includes neoconservatives James Woolsey and Franklin Gaffney making the national security case for electric autos. The very bad news is that the resistance of GM to its own best technology may have played a huge roll in the near destruction of the company and, along with it, the U.S. and world economy. On the other hand, the electric car may be due for a resurrection – director Chris Paine is working on a sequel.

Click to buy “Who Killed the Electric Car?”

Chocolate

Following the unprecedented success of “Ong-Bak” and “The Protector,” director Prachya Pinkaew was probably looking to get away from working with Tony Jaa on his next feature. Dropping one martial artist for another may not sound like much of a difference, but while new leading lady JeeJa Yanin doesn’t have the talent to match Jaa’s acrobatic fighting style, she’s a far better actor. It’s a trade-off that serves the movie well, because even though “Chocolate” is 90% action, the dramatic scenes that do exist work better as a result of her involvement. Yanin stars as Zen, an autistic girl who has learned to fight exclusively from watching martial arts movies. When her mother gets sick and can’t afford treatment, however, Zen sets out to collect payment from the various gangsters that owe her money. Desperate as it may be to inject some hint of character development into the proceedings, “Chocolate” is little more than a demo reel of some of the best action sequences that Asian cinema has to offer. Yanin may not be able to pull off some of the more impressive moves in Jaa’s arsenal, but she’s still a surprisingly capable fighter whose finest moment comes during a fight where she mimics Bruce Lee. It’s not the best action scene in the movie, but it’s exactly what makes “Chocolate” so much fun to watch.

Click to buy “Chocolate”

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”

Protégé

Hong Kong has one of the most prolific movie industries in the world, but while they have no problem cranking out films by the hundreds, a vast majority of them are rarely ever good. Consider “Protégé” an exception to the rule, because even though it’s just another undercover cop thriller, stars Daniel Wu and Andy Lau help elevate the material beyond the typical fare. Wu stars as Nick, a young cop who, after spending seven years undercover as part of a drug ring, is finally seeing results. When his boss (Lau) names him as the next in line to take over the business, however, Nick is forced to choose between bringing down the empire and running it. A subplot involving a drug-addicted neighbor (Jingchu Zhang) and her deadbeat husband (an underused Louis Koo) would usually feel like dead weight in a movie like this, but director Tung-Shing Yee does a great job of making it feel relevant to the bigger picture. And though there’s not as much action as you’d expect (save for a particularly memorable sequence involving a drug bust), “Protégé” is still one of the best titles that Dragon Dynasty has released. Then again, that’s to be expected from any movie featuring a star like Andy Lau. The veteran actor’s award-winning performance is the best part about “Protégé,” and though it doesn’t hold a candle to some of his other films, it’s worth seeing for that alone.

Click to buy “Protégé”

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