Category: Movie DVDs (Page 23 of 100)

Dead Snow

The Norwegian horror film, “Dead Snow,” came out of Sundance last year riding a wave of good buzz. It didn’t exactly sound like a cult classic, but the concept seemed strong enough to make for a fun midnight movie. Unfortunately, director Tommy Wirkola can’t even manage that, instead churning out a relatively dull horror film that fails to take advantage of its comic potential. The story is like so many others before it, with a group of medical students falling prey to a horde of zombies during a sex-and-booze-fueled weekend at a remote cabin in the mountains. What makes this film different, however, is the fact that these particular zombies also happen to be Nazis. It’s a match made in horror-comedy heaven that could have earned “Dead Snow” a spot among the other zombie classics. But instead of finding the humor in the situation like “Evil Dead 2” and “Dead Alive” (both of which are referenced in the film), Wirkola’s movie is an absolute bore until the final minutes when it suddenly turns into the silly romp it so desperately needed to be. Had the blood-gushing, chainsaw-slicing antics started sooner, “Dead Snow” might have won me over, but as it stands, it’s far too little, too late to make any real impact.

Click to buy “Dead Snow”

Hunger

After his short but memorable role as undercover operative Lt. Archie Hicox in the WWII epic, “Inglourious Basterds,” Michael Fassbender shot to the top of my actors to watch list. Quentin Tarantino’s film may have put him on the map, but even before its release, Fassbender was earning strong reviews for his performance in artist-turned-filmmaker Steve McQueen’s directorial debut, “Hunger.” As Bobby Sands, the real-life IRA member who went on a hunger strike in protest of the British government’s refusal to recognize him and his fellow Maze inmates as political prisoners, Fassbender completely immerses himself in the role with Christian Bale-like dedication. It’s a pity he doesn’t actually show up until the second act, because it only makes those first 30 minutes seem that much less significant. While a lot of that time is spent setting the mood within the prison (from the poor living environment to the brutality handed down by the guards), “Hunger” doesn’t really get going until Fassbender makes his grand entrance – and even then not a whole lot really happens. In fact, with the exception of a 16-minute, single-shot conversation between Sands and an Irish priest (Liam Cunningham), the movie is pretty forgettable due to an overall lack of character development. It’s still worth checking out for Fassbender’s committed performance, but it’s not quite the modern masterpiece that Criterion would have you believe.

Click to buy “Hunger”

Good Hair

Sadly overlooked at the box office, Chris Rock’s documentary on black hair – and the billion-dollar industry built around it – is a fascinating, if tragic, look at what black women will do in order to “fix” their naturally curly hair. Rock examines the products that “relax” hair (which will eat an aluminum can in four hours), and the weaves that they buy as a means of getting around using the relaxer. (Raven-Symone actually pulls her weave out of place on camera.) Rock even travels to India to meet the people who collect the hair that’s used in weaves. There is a sub-story involving four stylists competing for a $20,000 prize at the semi-annual Bronner Bros. hair convention in Atlanta – one of whom, surprisingly, is a white boy – but it doesn’t quite gel with the rest of the movie. The meat of “Good Hair” comes from women discussing the hair tragedies they’ve suffered at the hands of relaxer (that asymmetrical haircut in Salt & Pepa’s video for “Push It”? Yep, the result of her hair falling out) and how they handle having sex while wearing a weave (“Stay on top”). And Rock, being an ace comedian, knows a good last line when he hears one, so he wisely lets noted philosopher Ice-T close the show: “I just think that women shouldn’t be pointing their fingers at other women for what they doin’ to help each others’ bodies. Other than that, do whatever makes you feel good, because trust me, if a woman ain’t happy with herself, she gonna bring nothin’ but pain to every-fucking-body around her.”

Click to buy “Good Hair”

B-Girl

As I settled in to watch “B-Girl,” a film described on the back of its DVD box as originating “from the dancers of ‘Fame,’ ‘How She Move,’ ‘Step Up,’ ‘Step Up 2,’ & ‘Step Up 3D,'” I was reminded of a nine-word phrase of total disclosure which Roger Ebert once used to open a review: “I am not the person to review this movie.” Granted, he was speaking of “Scooby Doo” at the time, but his lack of familiarity with the mythos of that famed mystery-solving mutt have nothing on my deficiency of dance-movie knowledge. Still, I grew up in the ’80s, when breakdancing was in its original heyday, so I figured, okay, the least I can do is give this movie a chance. Sadly, “B-Girl” can’t hold a candle to “Breakin’ 2: Electric Boogaloo.” (Really, though, how many films can?)

“B-Girl” offers an all-too-familiar underdog story: Angel (Jules Urich, “You Got Served,” “Step Up 2”) dances her ass off while cruising the streets of NYC, but when a tragedy occurs in Angel’s life and results in both a shoulder injury and a decision by her mother to move to the other side of the country, she realizes that her only solace in California will come from getting back into shape and onto the dance floor again. The film is an expanded version of a short film bearing the same title, which was released in 2004 and also starred Urich, but that was five years ago; even in a world where we’ve been accepting twentysomethings playing teenagers since the original “Beverly Hills 90210,” no one in their right mind is going to look at Urich and say, “Okay, I’ll buy that she’s young enough to still be under her mother’s thumb.” It must also be said that neither the dialogue nor the acting is all that. This, of course, only leaves the dancing as a reason to see “B-Girl.” Is it enough? Well, this is where I’m going to more or less fall back on the aforementioned Ebert-ism, but for what it’s worth, I was impressed. For you B-Girls and B-Boys amongst our readership, though, you’ll probably have to see it for yourself.

Click to buy “B-Girl”

New York, I Love You

Composed like a mini festival of short films on the subject of love, “New York, I Love You,” the second installment in the city-based anthology series, starts off strong before coming to a screeching halt. A majority of the best segments not only occupy the first half of the film, but they also have the most star power, including one by Jiang Wen starring Hayden Christensen and Andy Garcia as two men vying for the attention of a beautiful girl (Rachel Bilson); Yvan Attal’s playful two-parter (featuring Ethan Hawke, Maggie Q, Chris Cooper and Robin Wright Penn) about flirting with strangers; and perhaps most surprisingly, Brett Ratner’s charming tale of a young kid (Anton Yelchin) whose last-minute prom date (Olivia Thirlby) turns out to be more than meets the eye. Mira Nair’s segment about a Jain gem merchant (Ifran Khan) and Chassidic dealer (Natalie Portman) haggling over the price of a diamond (and bonding over religion) is also cute, but it probably would have made for a better full-length feature.

Portman also directs a segment that is easily one of the weaker entries in the anthology, while Shekhar Kapur’s story about a retired opera singer (Julie Christie) just doesn’t fit tonally with the rest of the film. The same can be said about Scarlett Johansson’s contribution, which was deleted from the theatrical cut and appears only as a special feature on the DVD. It’s probably a good thing it was removed, because with the exception of a hilarious final segment starring Eli Wallach and Cloris Leachman as an old married couple making their way to Coney Island for their anniversary, the second half of the film is a bore. It’s also a little strange to see Woody Allen, Martin Scorsese and Spike Lee sitting on the sidelines, because no one knows New York better than these guys. Maybe the producers will be smart enough to recruit them during their next visit to the Big Apple.

Click to buy “New York, I Love You”

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