Category: Movie DVDs (Page 46 of 100)

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?”

Blu Tuesday: Pinocchio, Let the Right One In and The French Connection

Welcome to the latest column on Premium Hollywood, Blu Tuesday, where I’ll be covering some of the best and biggest high-def titles of the week. For those hoping this was a post about a New Order/Rolling Stones tribute band, I apologize, but you’ll have to keep holding your breath for that one, whoever you may be.

You see, when Blu-ray first hit the market, there weren’t very many titles to talk about other than the new releases that were already coming out on DVD. Now that the format is more popular with studios, however, my office has become overrun with high-def titles, and well, I just don’t have the time to cover every one in as much detail as I’d like. That doesn’t mean they don’t deserve to be covered at all, however, and so I’ve created this column to help cleanse my conscience (and some office space) and keep you all in the know on some Blu-rays you might be looking forward to, as well as a few others you should add to your shopping list.

“Pinocchio” (Walt Disney)

One of my least favorite Disney classics after “Dumbo” and “Bambi,” “Pinocchio” is still a no-brainer when it comes to diehard collectors and fans of animated films. It’s been years since Disney last released this from their ominous vault and so they’ve not only put out a new DVD edition to celebrate the occassion, but a high-def version as well. As expected, the new digital restoration is incredible. The colors pop off the screen like they were freshly painted, and were it not for the fact that hand-drawn animation is virtually extinct, you’d swear this was made yesterday. The best part about the three-disc set, though, isn’t the new transfer or the fact that you get three different versions of the movie (Blu-ray, DVD and a digital copy), but the hours of bonus material that have been lovingly crammed onto the disc. You get all the usual stuff that you’d expect from a typical new release (audio commentary, making-of, deleted scenes), but somehow they just feel more special on a movie this old.

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Robert Benton on “Kramer vs. Kramer,” 30 Years Later

Robert Benton has seen more than one cinematic revolution in his time. He and his late screenwriting partner, David Newman, were major players in two films that forever changed movies: 1967’s “Bonnie and Clyde,” which brought European New Wave aesthetics into mainstream American cinema and permanently altered the portrayal of violence in American pop-culture, and 1978’s “Superman,” which created the big-budget superhero flick and convinced the world Christopher Reeve could fly. But as the writer and director of a little movie without violence, groundbreaking special effects, or even a whole lot of controversy, Robert Benton actually helped change real life with 1979’s “Kramer vs. Kramer,” about a careerist father (Dustin Hoffman) raising his son alone after being left suddenly by his wife.

Drawn from a novel by Avery Corman, the film was an immediate critical and box-office success, ultimately making over $100 million. It proved to be a star-making role for the twenty-something Meryl Streep, who won a Best Supporting Actress Oscar as Hoffman’s ex-wife, who endures a change of heart and sparks a painful custody battle. Moreover, it racked up a historic Oscar nomination for seven-year-old Justin Henry in the crucial role of Billy Kramer, and garnered both a Best Picture award and a Best Directing Oscar for Benton against an exceptionally strong group of nominated films that included “All That Jazz” and “Apocalypse Now.” Still, lots of movies have received acclaim, Oscars, and a tidy profit. “Kramer vs. Kramer” is a different story.

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A Chat with Joe Lo Truglio (“The State,” “Role Models”)

If the words “rub a dub dub” conjure images of a bearded man in chain mail rather than three men in a tub, then you’re probably one of the people who saw and laughed at “Role Models.” The film was directed by (and features a cameo from) David Wain, late of The State, but he’s not the only alumnus of that particular comedic organization to be found within its frames. There are actually a couple, if you’re counting, but only one managed to spend the duration of the film dressed in Medevial garb and spouting laughably earnest comments using mock Elizabethan phrasing…and – what luck! – we actually had the opportunity to speak to the gentleman in question.

Stay tuned for…

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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”

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