Neil LaBute didn’t write his latest feature film (John C. Richards and James Flamberg did), and when we consider how tunnel-visioned were In the Company of Men and Your Friends and Neighbors, that immediately seems a healthy and liberating thing. And so it is. But the longer one watches Nurse Betty, the more the picture seems like essential LaBute — a study in obsessiveness and solipsism, but newly informed with a nutty generosity and an openness to the possibility of other points of view in the world.
The trend towards perpetual remakes and reboots is a growing pox upon Hollywood. Okay, now that that’s out of the way, someone taking another crack at Ben-Hur isn’t the worst idea in the world. Although William Wyler’s 1959 Oscar magnet (itself a remake) certainly has its gargantuan virtues, it also features more padding than any unimpeachable classic can be expected to bear.
While this new version tightens things up, it unfortunately suffers from both a curiously passive central character and the faith-based dramatic flattening that seems to be a hallmark of producers Mark Burnett and Roma Downey. (Jesus, a compellingly enigmatic, barely glimpsed agent of change in other versions of the story, is a bit of a screen hog here.) The plot still has enough juice to work, but only just.
Transcendence(Warner, Blu-ray, DVD, Digital HD, Cable VOD) marks the directorial debut of Wally Pfister, Oscar-winning cinematographer to Christopher Nolan. His visual intelligence, however, doesn’t transcend the dead weight passing as a script in this confused science fiction thriller starring Johnny Depp as a computer science genius whose mind is uploaded to an experimental computer program with the potential capabilities of artificial intelligence. Sure enough, once the program loads, the intelligence is off and running through the interwebs, escaping the lab and making a fortune in the markets, enough to fund a secret site in the middle of the desert where… well, this is, after all, a film that opens with the end of the world as we know it, a technology dead zone where the human race becomes squatters in the husks of desolate cities, and flashes back to the events that brought us to this point.
Rebecca Hall stars as Depp’s nearly-as-brilliant but more socially-adept wife who embraces the cyber-Depp, whose voice seeps out of every corner of the wired world and whose digitized face emerges from screen, as if Depp 2.0 is still her husband but in digital form, not really taking over the world, just trying to fix it up to make her dreams of a better world come true. If that’s the case, you gotta give the guy points for going the distance to impress a girl. But the film itself isn’t so much ambiguous on the AI’s real’s identity and motivation as simply sloppy and lazy, straddling flat cliché and unconvincing sentiment without making either convincing. This virtual being of seeming unlimited power, which can sends bazillions of nanobots into the atmosphere and pull the strings on dozens of enhanced human soldiers in a guerrilla war, is faced with a dilemma that confirms that the screenwriter ran out of ideas early on in the screenwriting process. Pfister provides some really arresting imagery as the revolution is fought with nanobots and human drones and technology so advanced that it looks like magic to us, yet fails to make any of it interesting, let alone compelling. Even a solid cast – Paul Bettany as the best friend and nominal point-of-view figure, Kate Mara as the possibly mad anti-technology terrorist, Morgan Freeman as the Morgan Freeman character – can’t make us care what happens to anyone here. Suddenly, the idea of just shutting it all down and starting all over again doesn’t sound so bad.
Blu-ray and DVD, with the featurettes “What is Transcendence?” and “Wally Pfister: A Singular Vision.” The Blu-ray Combo Pack adds two addition featurettes (“Guarding the Threat” and “The Promise of A.I.”) and three viral videos, and includes bonus DVD and UltraViolet digital copies. Also available on Digital and VOD.
Sabotage (Universal, Blu-ray, DVD, Cable VOD) is strange creature, a violent cop thriller from David Ayer that combines the gritty urban sensibility and revenge-movie doom of Ayer’s excellent End of Watch with a high-concept corruption plot and a clumsy star-vehicle lead by Arnold Schwarzenegger, who is tasked with playing a papa bear leader to a team of adrenaline-junkie specialists in a DEA tactical unit with military skills and firepower. Their discipline ends when the mission is over, which makes them dangerous and unpredictable. And not particularly likable either, though Mireille Enos is awfully fun to watch as the team’s sole female warrior and most out-of-control element. The rest of the team members are less memorable despite the casting of such genre veterans as Sam Worthington, Joe Manganiello, Josh Holloway, Terrence Howard and Max Martini, and they are certainly less memorable as characters than murder victims.
The film opens with them making off with a drug lord’s fortune during an official police raid and soon afterwards the money disappears and the team members get hunted down and murdered in splattery fashion. This isn’t the spectacular, oversized kind of violence of “Red,” where everything is just a little tongue-in-cheek or at least comic-book unreal. This is all about the meat left behind a death-by-train, the spatter of a bullet wound, and the spewing exit viscera of a head shot, all of it photographed in dripping detail. It all gets pretty numbing, just like Schwarzenegger’s one-dimensional performance. And that love scene with Olivia Williams? I hope she got hazard pay for it.
Blu-ray and DVD with a short, promotional-style “Making Sabotage” featurette, deleted scenes, and two alternate endings. The Blu-ray also includes bonus DVD and UltraViolet digital copies. Also available on Digital and VOD.
The four actors assembled for the old boys’ night out that is Last Vegas all have Oscars on their shelves. This movie will not win any of those. Still, it is a measure of their skill that they do not betray a hint of embarrassment or condescension in the course of this lightweight bash. Perhaps they sense the shrewdness behind the project, which combines Hangover-lite hijinks with last-go-round mellowness.
They’re the Flatbush Four, buddies-for-life who gather in Sin City for the marriage of the slickest and most successful of them, Billy (Michael Douglas—who else?). In a spasm of feeling his mortality, Billy has proposed to his 31-year-old girlfriend, and the occasion puts the chums in a variety of moods. Archie (Morgan Freeman) wants to flee the safety of elderly life; Paddy (Robert De Niro) still grieves over his late wife, who chose him over Billy a lifetime ago; Sam (Kevin Kline) has a free weekend pass from his wife to get as crazy as he wants, as long as it snaps him out of his funk. Does Kline seem the odd man out there, somehow an actor of a different generation?