Category: Movie DVDs (Page 22 of 100)

What Else Ya Got? “Sherlock Holmes”

When a movie makes as much money as “Sherlock Holmes” did at the box office (certainly not “Avatar”-sized numbers, but still respectable for its budget), you expect the studio to reward its audience with some cool DVD bonus features. Unfortunately, that isn’t the case here, as Warner Brothers has only included a 14-minute making-of featurette called “Sherlock Holmes: Revisited” that, although not as shallow as the typical EPK, doesn’t go into nearly enough detail for being the only extra on the disc.

Among the topics discussed include how this rendition of Holmes is actually closer to Arthur Conan Doyle’s original vision; Guy Ritchie’s originally plans to cast an actor in his late 20s to play the title character before meeting Robert Downey Jr.; and why Jude Law’s Watson is unlike any other we’ve seen before. In other words, it’s information that anyone following the film would have already read about, rendering the featurette fundamentally pointless. It’s a real shame, too, because there had to be some other bonus material (like bloopers or deleted scenes) sitting around in the vault that fans would have liked to have seen. Though the Blu-ray edition gets the added incentive of WB’s awesome Maximum Movie Mode, even that seems a bit light for such a major release. The history behind Holmes is simply too rich to receive such a lackluster treatment, and though I’ve never been a very big proponent of studio double dips, this time around, it’s almost necessary to make up for such a major blunder.

The Pleasure of Being Robbed

70 minutes isn’t a long time at all for a feature-length film, but those 70 minutes that are packed into director Josh Safdie’s indie work, “The Pleasure of Being Robbed,” are far too many. The movie is centered around Elenore (played by co-writer Elenore Hendricks) and her kleptomania that may or may not be caused by something deeper going on in her psyche. She steals not to profit, but just to peek into strangers’ lives. Elenore steals a lady’s purse, then a father’s gift for her daughter which consists of a bag containing a dog and some kittens, and eventually she works her way into stealing someone’s car keys just to see what the inside of the victim’s car looks like. It’s literally like watching someone’s bad home movies. At this point, Safdie himself appears as “Josh,” Elenore’s friend who convinces her to drive him back to his apartment, even though she has no clue how to drive. They manage to make it out of the city and back to his pad, and this takes up the majority of the movie and feels like it’s going in real time. Hell, it may actually be. There is no “plot” here, no real tale behind the characters, and no reason to care for anyone involved. This is indie filmmaking at its most uninspired, which of course has led some other critics to absolutely gush over it. But don’t believe the quotes on the back of the box; there is no pleasure of being robbed here, especially when you’ve just had 70 minutes of your life stolen.

Click to buy “The Pleasure of Being Robbed”>

Passing Strange

If you frequented the better L.A. rock clubs during the 90s and early 2000s, you were likely acquainted with the work of Stew. First with his band, The Negro Problem, and later as a solo act, the talented singer-songwriter’s between-song patter was half the thoughtful fun. Still, it’s a pleasant surprise to find Stew headlining his own Broadway show, a clever combination of traditional musical theater and a wordy musical performance. This version of “Passing Strange” is not so much a movie in a traditional sense but a very well done video documentation by Spike Lee of the show staged by director Annie Dorsen. As narrated both in spoken word and song by the volubly imposing Stew, it’s a presumably autobiographical coming-of-age tale dealing with the travels of an artistically inclined young man (Daniel Breaker), first through the tail end of his middle-class upbringing in South Central L.A. and conflicts with his religious mother (Eisa Davis), and then on to the sex-and-drug positive bohemian enclaves of Amsterdam and Berlin. As you can imagine, it’s a heady journey and Stew’s narrative and Dorsen’s witty staging keep things hopping. At times, “Passing Strange” falls prey to the same artistic pretensions it skewers, and I remember liking Stew’s older music a bit better than the songs he and his life/songwriter partner, Heidi Rodewald, created for the show. Nevertheless, as preserved for posterity by Lee, this is a consistently thought-provoking, funny, and moving theatrical look at growing up creative and ethnic in an ever changing world.

Click to buy “Passing Strange”

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.

Blu Tuesday: The Informant!, The Damned United and The Vampire’s Assistant

There haven’t been many great Blu-ray titles released recently (at least, not enough worth discussing anyway), and while today’s selection is just as lackluster as those in past weeks, it’s been so long since my last post that I’ve finally decided to write one anyway After all, while many of these week’s releases likely won’t end up in your library, there’s a good chance you’ll want to catch them at least once before making up your mind.

“The Informant!” (Warner Bros.)

I’ve never been a very big fan of Steven Soderbergh’s work, so I was bit surprised at how much I enjoyed his latest effort. Though it didn’t get the attention it deserved during its theatrical release, “The Informant!” is the kind of whimsical dark comedy that Joel and Ethan Coen have been making for years. Granted, the lead character isn’t quite as memorable as anyone in their rogue’s gallery, but Matt Damon still delivers one of the best performances of his career as a schlubby biochemist who turns informant on the agricultural megacorp he works for. The supporting cast isn’t as strong as you’d hope, but between Damon’s hilarious turn as the real-life snitch, the whip-smart script from Scott Z. Burns, and the memorable score by veteran composer Marvin Hamlisch, there’s more than enough to love about this movie. Warner Bros. hasn’t included much in the way of special features, but the director commentary is definitely worth a listen, and the deleted scenes are fairly amusing.

“The Damned United” (Sony)

It may have only received a limited theatrical run in U.S., but for those looking for a solid drama with yet another great performance from Michael Sheen at the center, look no further than “The Damned United.” Based on the novel by David Peace about real-life football manager David Clough, the film follows Clough’s (Sheen) rise to the top of the English First Division with provincial side Derby County, only to see it all fade away due to a jealously-fueled rivalry with Leeds United manager Don Revie (an underused Colm Meaney). Though fans of the sport will likely enjoy “The Damned United” for the history lesson, football is merely the background setting to what is ultimately a very character-driven story. The actor-writer team of Sheen and Peter Morgan can seemingly do no wrong, because while it might be their first movie not to focus on politics (at least, not in the traditional sense, anyway), “The Damned United” is every bit as good.

“Cirque Du Freak: The Vampire’s Assistant” (Universal)

Yet another movie based on a series of young adult novels, “The Vampire’s Assistant” is certainly no “Harry Potter,” and from a purely vampire-themed angle, no “Twilight” either. Though the story, about a teenager (Chris Massoglia) who becomes indebted to a mysterious vampire (John C. Reilly) after he saves his friend’s life, is actually rife with potential for a continuing franchise (especially when you factor in the cast that makes up the titular Cirque Du Freak), the movie is hampered by a remarkably bad performance from its young star. I’m not exactly sure what director Paul Weitz saw in the kid, because he’s so dull and unappealing that he sucks the life out of nearly every scene. Reilly at least makes the movie watchable, and Willem Dafoe has good fun in his brief role as a fellow vampire, but unless they plan on recasting the lead, this is one book-based franchise without much of a future.

Also Out This Week:

“Sorority Row” (Sony)
“The Box” (Warner Bros.)
“Nurse Jackie: Season One” (Lionsgate)
“Justice League: Crisis on Two Earths” (Warner Bros.)

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