Browse Tag

DVD

Blu-ray: ‘The Breaking Point’ on Criterion

The Breaking Point (1950), the second of three big screen adaptations of Ernest Hemingway’s To Have and Have Not, stars John Garfield as Harry Morgan, the role that Humphrey Bogart played in the original. The Howard Hawks film took great liberties with Hemingway’s story. This version is more faithful but takes its own liberties. Harry is a husband and father of two young girls in a Southern California coastal town, a war veteran struggling to get by as the captain of charter fishing boat, and his problems get worse when his latest client skips without paying his bill and he takes an illegal job to pay his marina fees and get his boat back home from Mexico.

The Criterion Collection

Patricia Neal co-stars as Leona Charles, a flirtatious beauty who clearly relies on the kindness of wealthy stranger. She tags along the fishing trip chartered by the slippery client and, left adrift in Mexico, is reluctantly given a ride back. Leona is not your usual femme fatale. She’s out for a good time, preferably with someone else picking up the tab, and Neal plays the part with gusto: a hearty bad girl with flashing eyes and a hungry grin but not quite an icy killer. It takes a while for her conscience to get fired up (even after meeting Harry’s wife she makes a play for him) but there’s a human being behind the party girl on the make.

Continue reading at Stream On Demand

Blu-ray: Kiyoshi Kurosawa’s ‘Pulse’

“Do you want to meet a ghost?”

Arrow

The meditative and metaphysical horror cinema of Kiyoshi Kurosawa made him one of the masters of Japanese horror during its amazing cycle of surreal and nightmarish horror films of the 1990s and 2000s, but his films never really crossed over to the general audience in the U.S. His insidiously unsettling films were too slow and cerebral for traditional horror audiences while the “horror” tag kept away the kinds of viewers that would be in tune with his eerie tales of guilt and alienation. Unlike many of his contemporaries, he was never recruited by Hollywood, and so he remains known mostly to those viewers with a passion for Asian horror. Among those fans (and I count myself as one), Pulse (Japan, 2001) is embraced as one of his greatest works, perhaps his best.

Continue reading at Stream On Demand

Blu-ray: Colossal

Colossal (2017) is the oddest and most inventive film to come out of the new wave of giant monster movies. It stars Anne Hathaway as Gloria, an out-of-work writer turned reckless party girl and black-out drunk who is kicked out of the Manhattan apartment she shares with her exasperated boyfriend (Dan Stevens) and returns to her dreary hometown and moves into her empty, abandoned family home. She runs into her childhood best friend Oscar (Jason Sudeikis), pretty much the only pal from her generation left in town, and gets a job waitressing in the sleepy bar he inherited. Unanchored and lacking any plan, goal, or motivation of any kind, she continues drinking her nights away with this new crew until she wakes up one morning (after another alcohol-fueled blackout) to find out that a towering Godzilla cousin has stormed Seoul, South Korea. As it continues to appear every morning (American time) at the same time, she discovers that she has a connection to the creature, one that goes back decades.

Universal Home Video

Let’s leave it at that; discovering the twists is part of the fun of the film. If you’ve seen the trailer, you’ve seen one already, but that only scratches the surface. What first seems to be a cosmic comic lark, a goofy twist on the monster movie, gets dark in a very human way without losing the film’s creative charge or director Nacho Vigalondo’s sense of humor and poetic justice. Spanish filmmaker Vigalondo has a talent for genre mash-ups, creating fresh takes on familiar science-fiction tropes, and this film (his English language debut) is his smartest, edgiest, and most accomplished to date. Hathaway plays against her image as the likable but unreliable and unraveled Gloria, as does Sudeikis, whose easygoing manner and generosity covers up a damaged soul. She’s a mess but he’s an even bigger one and there’s nothing cute about. Tim Blake Nelson and Austin Stowell co-star Oscar’s reliable barflies and after-hours drinking buddies.

Continue reading on Stream On Demand

Blu-ray: Ghost in the Shell 2017

The live-action Ghost in the Shell (2017) is both a big-screen adaptation of the long-running Japanese manga (comic book) by Shirow Masume and a remake of the landmark animated 1995 feature from Mamoru Oshii. No matter how you split the difference, the film had a high bar to clear even before the controversy over the casting of Scarlett Johansson as Major Motoko Kusanagi, who is simply Major in this adaptation. A veritable weapon—her body is almost entirely artificial, a sophisticated cyborg with a human brain who isn’t sure where the person ends and the technology begins—Major is the leader of the Section 9 strike team, an anti-terrorist division of the government that, at times, battles rival sections as well as external threats. Their biggest nemesis, however, is a cybercriminal named Kuze (Michael Pitt) who hacks into human minds and turns ordinary people into terrorist weapons.

Paramount Home Video

Johansson is remarkably effective in the role, impassive but not blank, both physically fierce and ethereal, morphing in action as the technology flickers into chameleon mode or sends her senses into 360 degree awareness. She is graceful and powerful, still and sudden, woman and machine, and her sense of identity is wrapped up in this alien physicality. Her relationship with Dr. Ouelet (Juliette Binoche), the scientist who created her cybernetic shell and ostensibly saved her life after a terrorist bombing, is somewhere between filial respect and professional collaboration, and for all the maternal care that Ouelet tries to push down, there’s something else creating the emotional distance between them. Major is most at ease with Batou (Pilou Asbæk), her trusted and fiercely loyal number two, and she is completely loyal to their section head Aramaki (‘Beat’ Takeshi Kitano), whose impassive expressions (Takeshi’s eternal hint of a smile makes him all the more enigmatic) covers his protective nature. As she has no memory of her past before the accident, they are the closest thing she has to family. At least until Kuze starts dropping hints about her origins and questions the identity she has taken for granted since her cybernetic rebirth.

Continue reading at Stream On Demand

Blu-ray: ‘Death Line’ (aka ‘Raw Meat’) on Blue Underground

Death Line (aka Raw Meat) (1972) – Gary Sherman directs this underrated (and for years largely unseen) British horror film about the last survivor of a literal underground clan (trapped in a subway construction cave in a century before) who emerges from his cave to hunt for food on the London Underground. Yes, it’s a cannibal film, but it’s also a startlingly tender film about a literal underclass abandoned by the world above, a story that roils in class division. It takes the death of an OBE to get the police looking into the spate of disappearances on the London Underground.

Blue Underground

The killer, an unspeaking, primitive figure called the “Man” in the credits (Hugh Armstrong), is also in some ways the protagonist. Drooling and diseased, suffering from plague and malnutrition, he hunts the tunnels of the Underground for food for his dying mate (June Turner). Donald Pleasance steals the film as the unconventional, sarcastic Inspector assigned to the case and then meets his match in a single scene with Christopher Lee as an arrogant high class MI-5 agent. Not so David Ladd (son of Alan Ladd and brother of co-producer Alan Ladd Jr.) as an American in London and Sharon Gurney as his girlfriend and soon-to-be captive of the Man. Their self-involved manner and disdain for the lower classes stands in contrast to the purity of the underground couple but the film stumbles over their scenes together.

Apart from that, however, Death Line is a remarkable horror film.

Continue reading at Stream On Demand

Blu-ray: ‘Rumble Fish’

 

Francis Ford Coppola described Rumble Fish (1983), his screen adaptation of S.E. Hinton’s young adult novel, as “an art film for teenagers.” He shot it right after making The Outsiders (1982), also adapted from a Hinton novel, but where that was a lush, operatic tale, Coppola made Rumble Fish in stylized black and white, like a teen noir seen through the eyes of a kid who has mythologized the idea of street gang chivalry to the point that he can’t see the reality through the idealization.

Criterion

Matt Dillon is teenage tough guy Rusty James, a good looking, recklessly charming high school kid in the shadow of his brother The Motorcycle Boy (Mickey Rourke), trying to live up to a reputation that his brother wants only to live down. He’s an aspiring juvenile delinquent with a boozer dad (Dennis Hopper) and a nice girlfriend, Patty (Diane Lane), who attends Catholic School across town. Rusty James (always the two names, like a brand) is, of course, from the wrong side of the tracks in the industrial grit of a Tulsa that time left behind and this culture of bars and boozer and packs of kids who imagine themselves as real gangs is steeped in its own mythology, or rather Rusty is steeped in the mythology that no one else seems to revere.

Continue reading at Stream On Demand

Blu-ray: Logan

Can a comic book superhero movie tell a human story? Logan (2017) makes the case that the genre is not limited to spectacle (though this film does offer some accomplished—and violent—action scenes), end of the world stakes, or world-building chapters in a massive franchise.

Fox Home Video

Set in the near future of 2029, which is a lot like today but a little more automated and a little more depressed, a world worn out and run down with a population to match, it presents Logan (Hugh Jackman), the former X-man also known as Wolverine, in hiding. He works as a chauffeur for hire under the radar while looking after an ailing Xavier (Patrick Stewart in a fearlessly vulnerable performance). Once immortal, thanks to healing powers that have kept him young for years, Logan is now breaking down and wearing out, his body ravaged by disease he can no longer combat, while Xavier is slipping into dementia and losing control of his once-finely focused mind. A dangerous thing for a telepath of his power, even more dangerous in a culture where mutantkind has been hunted to near extinction. And while Logan saves money for an escape from their Mexican compound, a kind of fantasy involving a boat and a life on the high seas, the government is on the hunt for them and for a silent young girl, Laura (Dafne Keen), who is a pint-sized Wolverine in her own right. It’s no spoiler to say that Logan, nudged by crotchety old man Xavier, becomes a reluctant protector to the girl who, at least on a genetic level, could be his daughter.

Continue reading at Stream On Demand

Blu-ray: Jordan Peele’s ‘Get Out’

The Stepford Wives meets Guess Who’s Coming to Dinner in Get Out (2017), the directorial debut of writer / comedian Jordan Peele, a tricky and successful mix of social satire, modern horror, and savvy commentary on race as experienced by a person of color in a largely white society.

Universal Home Video

Daniel Kaluuya stars as Chris Washington, a photographer with a promising career and a gorgeous, supportive girlfriend, Rose (Allison Williams), and after months of dating, he’s finally meeting the parents for a weekend stay. Her parents are white, liberal, and affluent, and on the drive over he finds out that she hasn’t told them that he’s black, which makes him a little uneasy. No worries, they are warm and welcoming, perhaps a little too overeager to make him welcome. Dad (Bradley Whitford) is a chatty hugger who launches into his spiel of how he would have eagerly voted Obama in for a third term. Mom (Catherine Keener) is a therapist who seems to be sizing up all those suppressed feelings, a suburban Earth Mother who seems just a little too eager to hypnotize him. They make a point of just how much they don’t see color, which of course only accentuates how much he stands out in this upstate social pocket where the only other black faces are groundskeeper Walter (Marcus Henderson) and housekeeper Georgina (Betty Gabriel). They have been with the family so long they have become part of the family, explains Mom. Just maybe not quite in the way you assume.

Continue reading at Stream On Demand

Blu-ray/DVD: ‘Jeanne Dielman, 23, quai du Commerce, 1080 Bruxelles’

“A singular work in film history,” begins the description on back of the case of Criterion’s release of Chantal Akerman’s astounding Jeanne Dielman, 23, quai du Commerce, 1080 Bruxelles (France, 1975).

The Criterion Collection

That is no hyperbole. Jeanne Dielman is a painstaking, excruciatingly exacting portrait of the life of a perfectly organized homemaker, an epic portrait of a quotidian life where every gesture through the 200-minute study becomes important and the slips in routine reverberate like aftershocks of an earthquake. It’s astounding to realize that Akerman was only 25 when she put this uncompromising vision on the screen. It’s almost as astounding that this landmark work took so long for finally arrive on home video in U.S. Almost impossible to see for decades (it wasn’t even released in the U.S. until 1983 and was rarely revived in the years since), this singular work made its DVD debut in 2009, presented by Criterion in a magnificent two-disc special edition. Criterion has now remastered the film for its Blu-ray debut.

Middle-aged widow and single mother Jeanne Dielman (Delphine Seyrig) lives a carefully structured life with a clockwork routine. She wakes up before dawn, sees her son Sylvain (Jan Decorte) off to school, cleans every last dish in her tiny and spotless kitchen, then continues on with the errands and duties of her day. One of those duties just happens to be servicing an afternoon client as a part-time prostitute. Jeanne is all business when the bell rings and she puts the pot on low simmer to welcome her client for the day. It’s creepily expressive the way Akerman frames her head out of the shot when she answers the door, matching Seyrig’s inexpressive formality with each man.

Continue reading on Stream On Demand

Blu-ray: Josef von Sternberg ‘s ‘Anatahan’ restored

Inspired by the true story of Japanese sailors stranded on a deserted island during World War II, Anatahan (1953) was the final film completed by Josef von Sternberg. In a career where he was increasingly forced to compromise his style and sensibility, it marked his final hurrah: a film over which he had complete control.

Kino Classics

After a prologue on a Japanese ship bombed by an American plane, the film takes place almost entirely on Anatahan, a former plantation island in the South Pacific that is now completely overrun by the tropical jungle. The twelve survivors, a mix of sailors and soldiers, find the old plantation and a couple who stayed behind when the rest of the island population either enlisted or was evacuated. “We were to be here for seven long years,” reports the narrator (Sternberg himself), speaking in a tone of recollection and reflection long after the fact. (There is no effort to assign the narration to an individual character; it could very well stand in as the guilty conscience of the survivors.) As they await their rescue, their discipline breaks down and their desire for Keiko (Akemi Negishi), the lone woman in the society of men, stirs them to aggression and murder, which becomes easier when they find and scavenge the remains of a downed fighter plane, including a pair of handguns. “There was no law on our island, no police,” observes the narrator. “Only two pistols.”

Continue reading at Stream On Demand

Blu-ray: The silent horror of ‘Behind the Door’ restored

Behind the Door (1919) (Flicker Alley, Blu-ray+DVD) was for decades a film known by reputation only. A good film, yes, but more than that a notorious one, for what lay behind the door was… No spoilers because the film, once known to exist only in incomplete form, has been reconstructed and restored by the San Francisco Silent Film Festival and released on disc by Flicker Alley. Its reputation proves well-earned.

Flicker Alley

Hobart Bosworth plays Captain Oscar Krug, an American seaman of German ancestry who left the sea for life ashore for the love of a woman. But in the opening moments of the film he’s a haunted man returning to the ghosts of the past in his old taxidermy shop, now a ransacked ruin choked by dust and shadow. His story plays out in the shadow of this resignation, a sunnier time when he was in love with banker’s daughter Alice (Jane Novak) and respected by his New England community. A jealous suitor uses the outbreak of World War I to whip up anti-German hysteria (which, in 1919, was not that distant a memory) but the two-fisted patriot wins over the mob with a roundhouse of a brawl and a rousing proclamation to do his duty, as every American should. He bonds with his opponent, McTavish (James Gordon), over the brawl and a few cuts later Krug is captaining an American naval ship, the Perth, with McTavish as his loyal mate and friend. And Alice stows aboard, kicked out by her possibly-crooked, definitely-shady banker father, ready to do her duty as a nurse. Then the unmistakable conning tower of a submarine rises from the surface of the sea and German U-boat commander Brandt (Wallace Beery) torpedoes and sinks the Perth with far too much malicious glee. If director Irvin Willat makes a point of celebrating the patriotism of German-Americans, he brands the German enemy with the familiar stereotype of the bloodthirsty Hun.

The rest of the story is best discovered on your own because it’s a doozy of a portrait of war crimes and gruesome revenge.

Continue reading at Stream On Demand

Blu-ray/DVD: The Sicilian Clan

Three of the great icons of French crime cinema team up for The Sicilian Clan (France, 1969) (Kino, Blu-ray, DVD). Jean Gabin is Vittorio Manalese, the head of the Sicilian Manalese clan in Paris, Alain Delon the reckless, amoral French criminal and killer Roger, who hires Vittorio’s clan to spring him from custody, and Lino Ventura Commissaire Le Goff, the man who captured Roger. After Roger escapes, Le Goff struggles with is efforts to give up smoking.

The film opens with a terrific escape, not from prison but from prison transport in the chaos of a traffic snarl, in a nicely-engineered sequence crisply directed by Henri Verneuil. No guns needed here—the Manalese clan doesn’t kill during their capers—and Vittorio is wary of Roger, a loner who has killed more than one cop in his robberies, as he puts him up in a private apartment above the family home. But when Roger brings a big jewel heist his way, he agrees to partner up and proceeds to find a New York partner and case the target: an exhibition hall in Rome with state-of-the-art security. Vittorio meets up with distant New York mob cousin Tony Nicosia (played with dapper charm by Amadeo Nazzari), who he hasn’t seen for thirty years, and they slip into instant rapport and easy friendship as if no time has passed as they case the Rome exhibit. When they find the new technology impenetrable, Vittorio comes up with a new plan: hijacking the flight delivering the jewels to New York City in a genuine family affair.

Continue reading at Stream On Demand

Blu-ray/DVD: ‘Mildred Pierce’ on Criterion

Is Mildred Pierce (1945) (Criterion, Blu-ray, DVD) film noir or melodrama? I say why choose? Film noir is almost entirely associated with crime stories and life in the shadows and at night in the city and sure enough Mildred Pierce, based on the novel by James M. Cain, opens with death and darkness and the twilight of the soul. But there’s a subset of noir rooted in melodrama or the women’s pictures, as they were called in the 1940s and 1950s, films about the lives of women as they reach for their American dream, or at least the one promised them in love, marriage, and family. Mildred Pierce offers both, almost as two separate films that converge in the final act

Criterion

It opens squarely in film noir territory (not that there is anything square and simple in noir), with a point blank murder and grotesque dying convulsions of a man who, even at first glance, convinces us he’s an oily, unclean manipulator who surely earned his terrible death. It’s Zachary Scott in a lounge lizard mustache playing his trademark gigolo with weasely insincerity—almost too perfect for our opening victim. We’ll get back to the corpse but first we leave the beach house scene of the crime for a seedy part of the boardwalk and a woman in fur (Joan Crawford) gripping the rail with every indication of a suicidal plunge into the surf. There’s a gaudily colorful bar with a Polynesian theme owned by Jack Carson, appropriately attired in a white tux that screams new money and no taste especially next to the elegance of Crawford, a nightcap, and what appears to be a neat little frame for murder that sweeps all of our characters into the police station for questioning.

You don’t think of Michael Curtiz, the great house director of Warner Bros. spectacles and prestige pictures, as one of the great noir directors but the opening twenty minutes or so is a master class in film noir directing, in part thanks to stunning nocturnal images by cinematography Ernest Haller (his work earned an Oscar nomination, one of six that the film racked up).

Continue reading at Stream On Demand

Blu-ray: Deluge

Deluge (1933) (Kino Lorber Studio Classics, Blu-ray, DVD), the original end-of-the-world thriller, is a curious and often fascinating artifact. Produced in 1933, before the production code came down on Hollywood, on a relatively modest budget, it imagines not just the destruction of civilization in (unexplained) earthquakes and cataclysmic storms but life after the flood, so to speak. It’s based on a popular 1920s science fiction novel by the now forgotten Sydney Fowler Wright and can claim the title as the first disaster movie.

Kino Lorber Studio Classics

Scientists are in a panic as barometers plunge and reports of cities flooded in tidal waves and hurricanes are breathlessly reported in radio broadcasts. In these opening scenes, however, the only destruction we witness is the lavish house in the woods of Martin and Helen (Sidney Blackmer and Lois Wilson), crushed under trees blown over by high winds while Martin carries them off to safety. Then the real spectacle begins: New York collapses in primitive yet evocative miniatures that are more expressionistic than realistic, like an avant-garde short dropped into a science fiction thriller. Crude travelling mattes put people amidst the destruction, fleeing collapsing buildings or getting crushed by the debris, and a magnificent miniature gives us a God’s eye view of New York City swamped in a tsunami. By modern standards it’s not all “realistic” but it’s mesmerizing in part because it’s a cinematic imagining of something no filmmaker had attempted on screen before. It’s a first pass at the kind of disaster spectacle we now take for granted and these technicians create it all from scratch, not just the technical matter of the physical special effects but the very visualization of the end of the world.

Continue reading at Stream On Demand

Blu-ray/DVD: ‘Loving’ – The couple behind the history

Universal Home Video

Loving (2016), Jeff Nichols’s portrait of Richard and Mildred Loving, does more than put a face to a landmark Supreme Court decision. Their 1958 marriage was a crime in the state of Virginia because Richard (played by Joel Edgerton with a terse determination) was a white man and Mildred (Ruth Negga, vulnerable yet hopeful) was a black woman. But this is not the portrait of a defiant couple protesting all the way to the Supreme Court. The title is more than just a form of shorthand or a clever double-meaning. It is the core of the film. This is about a marriage, a couple deeply in love and devoted to their family, who just want to live together in their home state.

Their courtship is presented in snapshots yet from the beginning it’s like they’ve been together forever, laying in one another’s arms with a natural intimacy. They live in an integrated pocket of blue collar families that could be a planet away from the segregation of the cities. When Mildred tells Richard she’s pregnant he beams with a rare smile, like it’s the sign he’s been waiting for, even if they have to sneak across the border to Washington D.C. for the ceremony and set up a household in secret. Negga earned a well-deserved Oscar nomination for her performance as Mildred and Australian actor Edgerton received a Golden Globe nomination for the stolid Richard, a man who looks like a redneck stereotype under his buzz cut and tight mouth yet is like a member of her family even before they marry.

Continue reading at Stream On Demand