Category: Movie DVDs (Page 15 of 100)

Blu Tuesday: Hamlet

Running just over four hours in length, Kenneth Branagh’s 1996 production of “Hamlet” isn’t exactly the kind of film that the casual moviegoer pops in on a rainy day, but is instead tailored almost exclusively to cinephiles and diehard fans of Shakespeare. That’s because unlike previous film adaptations of the famous play, Branagh’s version is the first (and probably the last) to utilize the full text, resulting not only in one of the most ambitious studio movies of the last 15 years, but also the most complete film adaptation to ever be made. It just so happens to be one of the best, too, thanks in part to Branagh’s skillful direction, a treasure trove of fantastic performances (including Derek Jacobi as Claudius and Julie Christie as Gertrude), and gorgeous cinematography that benefits from Branagh’s decision to shoot the movie in 70 mm.

It’s completely coincidental that “Hamlet” was released around the same time as the formative years of my literary studies, but although I was already quite taken with Shakespeare’s play by the time I stumbled onto Branagh’s film, it only further deepened my appreciation for the work. And once you see his version of “Hamlet,” it’s really difficult to accept any other. I’m certainly not alone, either, as many people had been clamoring for the film to be released on DVD for years before Warner Bros. caved in with a belated 10th anniversary special edition. (And on my birthday, no less.)

Thankfully, we didn’t have to wait nearly as long for the Blu-ray, and the fact that it’s being released the week after my birthday makes me believe that, in some cosmic way, I’m somewhat responsible. So if you’ve been counting down the days until you could experience Branagh’s “Hamlet” in high definition, you’re welcome. Unfortunately, while the film looks brilliant in HD, there are no new special features to speak of. Granted, the ones that appeared on the two-disc DVD were already pretty good – the commentary by Branagh and Shakespeare scholar Russell Jackson is entertaining and insightful, and the making-of documentary “To Be on Camera,” although a bit dated, features some nice interviews with the cast – but surely they could have dug up something from the archives. Not that it will matter. Anyone that owns the DVD will want to pick up the Blu-ray strictly for the technical upgrades. And when you’re dealing with a movie with such lush production values, it’s more of a necessity than a luxury.

The Good, the Bad, the Weird

Korean cinema has really flourished over the last five years under the guidance of directors like Chan-wook Park and Joon-hoo Bong, and you could probably add Ji-woon Kim to that list as well. Though his last two movies (the horror thriller “A Tale of Two Sisters” and the crime drama “A Bittersweet Life”) haven’t had much of an impact overseas, his latest film is a fresh and fun action comedy that transcends its midnight movie façade to succeed as a true cult classic in the making. Unlike Takashi Miike’s “Sukiyaki Western Django,” which failed to make the most of its East-meets-West potential, “The Good, the Bad, the Weird” actually has a solid story and some great acting to go along with its flashy set pieces.

Clearly inspired by Sergio Leone’s “The Good, the Bad and the Ugly,” Kim’s film takes place in 1930s Manchuria where three strangers – a bounty hunter (Woo-sung Jung), an assassin (Byung-hun Lee), and a clumsy thief (Kang-ho Song) – face off for possession of a stolen treasure map while being pursued by a group of bandits and the Japanese army. Though it’s a bit long at 130 minutes, Kim does well to keep the story moving along as we learn more about the characters and how they’re connected to one another. Granted, the supposed Good of the film isn’t really all that good considering he kills the most people, and Jung makes him so mysterious that he’s also the least identifiable, but the other two actors are perfect in their respective roles – particularly Song, who’s so amusing as the comic relief that it’s hard to imagine the movie working as well as it does without him in the mix. The film also features a handful of incredible action sequences that underscore everything that’s great about “The Good, the Bad, the Weird,” and although it might not appeal to everyone, it’s one of the most wildly entertaining movies that I’ve seen all year.

Click to buy “The Good, the Bad, the Weird”

Night Train to Munich

Now available in a flawless restoration from Criterion, this 1940 comedy-spy thriller was a non-sequel follow-up to Alfred Hitchcock‘s final British masterpiece of lighthearted suspense, “The Lady Vanishes.” Leading lady Margaret Lockwood was on board to star in a second wittily askew, fast-paced script from writers Sidney Gilliat and Frank Launder, who deserved as much acclaim as their director and knew it. Hitchcock, however, had left permanently for Hollywood and male lead Michael Redgrave was unavailable. A young Rex Harrison (“My Fair Lady”) stepped in as a dashing and egotistical British agent charged with rescuing a pretty Czechoslovakian (Lockwood) and her weapons scientist father (James Harcourt) from Nazi captivity on the eve of world war. Replacing Hitchcock, Carol Reed (“The Third Man”) didn’t mess a step. Also returning are masters of comic understatement Basil Radford and Naunton Wayne, back for more train-based foreign intrigue as the cricket-obsessed duo, Charters and Caldicott. New on board is Paul Henreid (“Casablanca”), playing a Czech concentration camp escapee who is no Victor Laszlo. A hit in its day, “Night Train” has been overshadowed by its predecessor, but it’s only a little less brilliant, with obvious miniature effects that embarrassed Reed and marred the climax slightly, and some too-obvious plot holes. Directly addressing World War II, it does have a more modern feel than “The Lady Vanishes,” however, with black comic echoes of “To Be or Not to Be” and ironic foreshadows of James Bond and, yup, “Inglourious Basterds.”

Click to buy “Night Train to Munich”

Ip Man

Donnie Yen has enjoyed a pretty successful career over the years as one of Asia’s premier action star, but if his phenomenal work in “Ip Man” doesn’t transform him into a global superstar, then he probably never will. Loosely based on the middle years of the grandmaster of Wing Chun (and the man who would become Bruce Lee’s mentor), “Ip Man” stars Yen as the title character, a skilled martial artist who refuses to take on any students, despite living in a city renowned for its martial arts. But when the Japanese invades China towards the end of the 1930s, Ip Man must rely on the only thing he knows in order to protect his fellow countrymen, transforming him into a national hero in the process.

Obviously, director Wilson Yip has taken some liberties with the story, but that’s to be expected from any biopic. What’s most upsetting is that the movie doesn’t feel quite as epic as the source material demands. Several years of history are missing from the middle of the movie (replaced by title cards explaining what happened), while the ending feels a little too rushed for someone who accomplished so much later in his life. Thankfully, “Ip Man” makes up for its questionable direction with great performances from Donnie Yen (stoic as ever) and Gordon Lam, and easily some of the best fight sequences of the last decade. And with martial arts veteran Sammo Hung credited as the film’s action director, I wouldn’t expect any less.

Click to buy “Ip Man”

What Else Ya Got? “The Losers”

Sylvain White’s big-screen adaptation of the DC/Vertigo comic book series, “The Losers,” will undoubtedly get plenty of airtime when it premieres on basic cable, but as one of the many man-on-a-mission movies released this year, it’s probably the weakest of the bunch. Fortunately, Warner Bros. has still thrown together a pretty decent collection of extras that, while not incredibly memorable, are certainly worth checking out once.

Band of Buddies: Ops Training

This three-part featurette is the closest thing you’ll find to an official making-of, but it just barely scrapes the surface at only 17 minutes. Each section covers a different topic, including training the actors to resemble Special Forces soldiers, using Puerto Rico as a stand-in for the movie’s various global locations, and the tricks employed to film certain stunts. It’s a nice tease, but it really could have been better.

The Losers: Action-Style Storytelling

Creators Andy Diggle and Jock sit down to discuss the origins of the comic book and how it compares to the film adaptation. There are some cool accompanying shots from the comic that show the similarities between the two versions, while Diggle comments on the necessary changes to the main villain in order for it to work in the context of a movie. Fans of the comic might be relieved to see that the creators are happy with the final product, but I can’t help but feel like they were legally bound to hold back from revealing their true feelings.

Zoe and The Losers

Zoe Saldana is the center of attention in this short featurette about the film’s only female character that includes some flattering interviews from the cast and crew and a fairly in-depth look at a key fight sequence between her and Jeffrey Dean Morgan. It’s just too bad Warner Bros. didn’t see it fit to expand this character featurette to include the rest of the cast.

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