http://www.filmmonthly.com/ en Copyright 2012 Tue, 07 Feb 2012 21:23:09 -0600 http://www.sixapart.com/movabletype/ http://blogs.law.harvard.edu/tech/rss Poirot) and directed by Euros Lyn (Torchwood, Dr. Who), the George Gently mysteries are all about solid, no-nonsense police work. Making sure that’s just what happens are Martin Shaw (Judge John Deed, Cranford, The Murder Room) as George Gently, and Lee Ingleby as protégé John Bacchus (The Last Legion, Marple: Nemesis). As the program begins, Gently’s wife has been killed in a hit and run. He decides to take early retirement and get out of the police. But a dead motorcyclist and a tip-off from an informant sends him heading up north to lead the investigation. With his young and ambitious partner John Bacchus at his side , the investigation begins. However, in addition to trying his best to solve the crime, Gently is distracted by his suspicions of all those around him, including the confusing ethics and background of Bacchus. Eventually, Gently gets the crook and begins work molding his new, young partner, John Bacchus (Lee Ingleby) into a decent cop. The set includes two other Gently stories. The next of these is "Gently Go Man," about the murder of a member of a motorcycle gang and the small-town secrets that Gently's unravels as he digs up the truth of the man’s death. Then there’s "The Burning Man," where Gently investigates the death of a man who may have been a political terrorist with the Irish Republican Army. In this episode, Gently finds himself butting heads with a cop from Special Branch with whom our world-weary hero has a past. In "Bomber's Moon," Gently looks into the killing of a former German prisoner of war and Gently’s returning to visit the local farm family with whom he had been stationed, all of which reveals all sorts of bigotry still lingering from the war. The Gently stories are told with as much lean style as Bacchus's skinny Beatles suits and sleek sports car, yet they remain surprisingly modern . "Gently Go Man," in particular, echoes an undertone of tolerance for homosexuality that would not have been found in 60’s England. Series creator Flannery states on the commentary track that what appealed to him about the novels was that, "the world was on the cusp of massive social change," at the time the stories are set, "and George Gently's values were being challenged by that change." That aspect is a strong element of all three 90-minute movies included here, and it's just one aspect that makes the series most appealing. All in all, George Gently’s stories make for entertaining viewing. Inspector George Gently, Series 1 releases on BluRay on January 17, 2012.]]> http://www.filmmonthly.com/video_and_dvd/george_gently_series_1.html http://www.filmmonthly.com/video_and_dvd/george_gently_series_1.html Video and DVD Tue, 07 Feb 2012 21:23:09 -0600 MAD Season 1, Part 2, the new animated sketch-comedy series from Warner Bros. Animation. The series is inspired by the iconic MAD magazine, a twisted mix of humor and animation styles that pulls back the curtain and exposes the sordid truth behind movies, TV shows, games and, of course, curtains. This is not your typical animation show. The animators have worked diligently to ensure that MAD Magazine comes to life in this satirical animated sketch show. Each episode is a collection of animated parodies of movies, games, TV shows, celebrities, and other media using various types of animation. Visit the official site here. Full Product Description Screen Aspect: 16 X 9 FULL FRAME Episodes Info : Pokemon Park / WWER So You Think You Can Train Your Dragon To Dance / Yo Gagga Gagga Straight A Team / Gaming's Next Top Model The Buzz Identity / Two and a Half Man Are You Karate Kidding Me / Fresh Prawn of Bel Air HOPS / Naru-210 KoBee Movie / Law & Ogre Pooh Grit / Not-A-Fan-Of Montana The Social Netjerk / Smallville: Turn off the Clark TwiSchool Musical / Avenger Time ArThor / Big Fang Theory Ribbetless / The Clawfice Force Code / Flammable Packaging Type: Eco Amaray Case Copyright: “MAD” © Warner Bros. Entertainment Inc. “MAD” and all related characters and elements are trademarks of and © E.C. Publications, Inc.]]> http://www.filmmonthly.com/video_and_dvd/mad_season_1_part_2.html http://www.filmmonthly.com/video_and_dvd/mad_season_1_part_2.html Video and DVD Tue, 07 Feb 2012 20:28:37 -0600 Geek Charming is another in the long list of Disney Channel movies peddling materialism and beauty, while providing a cute pouty-faced moral lesson of acceptance and tolerance. Disney, in their official released synopsis (which is cribbed from the back cover of the Robin Palmer book, from which the film is based), explains the story like this: “Dylan Shoenfield [Sarah Hyland of Modern Family] is the princess of L.A.'s posh Castle Heights High. She has the coolest boyfriend, the most popular friends, and a brand-new "it" bag that everyone covets. But when she accidentally tosses her bag into a fountain, this princess comes face-to-face with her own personal frog: selfprofessed film geek Josh Rosen [Matt Prokop from Disney’s High School Musical franchise]. In return for rescuing Dylan's bag, Josh convinces Dylan to let him film her for his documentary on high school popularity. Reluctantly, Dylan lets F-list Josh into her A-list world, and is shocked to realize that sometimes nerds can be pretty cool. But when Dylan's so-called prince charming of a boyfriend dumps her flat, her life - and her social status - comes to a crashing halt. Can Dylan - with Josh's help - pull the pieces together to create her own happily-ever-after?” Dylan bases everything in her life on a scale of popularity – she pegs every cafeteria table with a clique label, chooses friends based upon looks and fashion, selects a beau based on athletic prowess and swoop of blonde bangs. Most of all, her entire world revolves around winning the crown of Blossom Queen. But oh! She misses her dead mother (how Bambi!), so all is forgiven. She’s earned her shallow and vapid degree in the school of hard knocks, with a minor in pity. She’s jut hurting, is all – give her a break! In the hands of director Jeffrey Hornaday (whose chief listing in IMDB is choreographer), and first time scribes Hilary Galanoy and Elizabeth Hackett, Geek Charming never rises above the cookie cutout teen tropes, where the kids learn about how it’s cruel to be all judgey and stuff… but, only when the judgey kids have kicked you out of their elite club. And also the kids will learn that being wrapped up in beauty and image is cured by – what else! -- a good makeover! The story, decidedly very light fare, is suppose to be a lesson about individuality and tolerance. The problem is, everyone in the film is a stereotype, every situation is wrought with cliché, and the morality lessons are decided and resolved by the keyboard of the writer, not by the natural progression of the characters. It’s like a light switch is flipped and the characters suddenly are cured. The worst offense is the proffered image of young girls. There doesn’t seem to be a proper female portrayal in the bunch. They’re all there at the behest of the males in the script. Dylan slaves hard to keep the interest of her aloof jock beau, until she realizes it’s the geek she really needs to pine over. Then there’s her two-gal entourage who tag along so they can be a part of the boy hungry clique, and Josh’s film geek group’s only female member, who is smitten with him, and makes a buffoon of herself trying to please him. And let’s not forget the pretty young thing who smiles and swishes her hair in slo-mo for Josh, and only Josh… until she unselfishly sacrifices her happiness to allow him to take Dylan’s love instead. All wonderful role models for our daughters to emulate. The DVD package is topped off with a bonus disc of 10 episodes of the Disney Channel sitcom Shake it Up, about two fame-starved tweens (Bella Thorne and Zendaya), who dance on a local TV show and lie to each other and make judgey remarks about people who don’t act like them and also girls with eating disorders… until they learn a moral lesson that will be conveniently forgotten before the next weeks episode. Thank goodness se have Disney to help our kids out. ]]> http://www.filmmonthly.com/video_and_dvd/geek_charming.html http://www.filmmonthly.com/video_and_dvd/geek_charming.html Video and DVD Tue, 07 Feb 2012 13:09:43 -0600 A Very Harold & Kumar Christmas is not that. It doesn’t claim to be a movie masterpiece or even take itself that seriously, but that is part of the unquestionable charm of A Very Harold & Kumar. The third in the Harold & Kumar franchise starts off a little rocky. Where the first one was a stoner classic and the second one faltered with its not-so-veiled political aspirations, the two stoner pals had a difficult task ahead of them. Especially with the decision to set the film several years after the events of the second film, meaning Harold & Kumar are “grown-ups” now, the film struggles with presenting these two as the goof-off pals from the 2004 film. Luckily, with the help of Neil Patrick Harris, the film regains some of its youthful jubilance. While A Very Harold & Kumar Christmas struggles to turn their two leads into adults, Harris (as himself) is as irreverent as ever. Harris reminds us of the raunchy fun that Harold & Kumar Go to White Castle gave us in 2004 and even though its not aging as gracefully as one would hope, it’s still got enough cheap laughs to satisfy an audience for its 90-some minute running time. But easily one of the most amusing things about the movie is its recognition of the medium itself. A Very Harold & Kumar Christmas may meander with its story, but it does the same with its film techniques in a playful manner. Even though this particular blu-ray isn’t in 3D, the film’s unabashed mocking of the film technique holds up in all the right places. Still, the claymation sequence is easily one of the most amazing scenes that A Very Harold & Kumar Christmas has to offer. The child-like animation style mixed with claymation gore is one that won’t soon be forgotten. Although the jokes in A Very Harold & Kumar Christmas are hit-or-miss, the film does have something to offer its audience and that is pure, unadulterated fun. It is by no means anything new to the generic field of the “Christmas movie” but as a fan of the earlier entries into the Harold & Kumar franchise, I was happy to return to these characters. Even with some unwelcome changes, as our two stoner pals embrace adulthood, A Very Harold & Kumar Christmas has fun with its material which makes for an entertaining experience for its audience.]]> http://www.filmmonthly.com/video_and_dvd/a_very_harold_kumar_christmas.html http://www.filmmonthly.com/video_and_dvd/a_very_harold_kumar_christmas.html DVD releases Video and DVD Tue, 07 Feb 2012 08:18:26 -0600 Metal Shifters is about a Russian satellite crashing in a small town. The satellite was knocked out of orbit by a meteor carrying an alien bacteria, which thrives on metal surfaces. Not only that, the bacteria is apparently physically strong enough to animate its metal “hosts” and hunt down human beings. Why does it want to kill humans? Because it needs to infect our blood and consume the irons and coppers we all naturally carry. Why doesn’t it just consume the literally tons of metal it infects and animates along the way? I have no idea. Plot holes are commonplace for Syfy originals. Artificial character arcs and flimsy scientific justifications are kind of their niche. But Metal Shifters really lowers the bar. As far as the characters go, our cast includes two brothers, Jake and Ethan (Kavan Smith and Colby Johansson), Jake’s high school girlfriend (Nicole De Boer, Stephen King’s Dead Zone, 2002), and her teenage daughter (Merritt Patterson). Jake and Ethan have invested all their money into remodeling a rundown house (presumably for resale or something? It’s unclear). Emotions fly when Jake’s ex-girlfriend, Amanda, moves back to town after a recent divorce. Everything is fairly straight forward and obvious until a metal statue built by the owner of the local scrap metal yard (Donnelly Rhodes) is infected by this alien bacteria and starts killing people around town. Which brings us to the air tight scientific logic at work in Metal Shifters. It’s a necessity of each of these films to go to enormous lengths to explain how everything is scientifically plausible. These explanations are traditionally long, repetitive, and for all the time spent on them they don’t really ever make sense. Thankfully for the audience, Amanda is a science teacher, and with very little contact with the bacteria she is able to figure out that the alien mold can only thrive on metal, and that it wants to infect humans for our blood metals. All this is more or less believable. The really confusing part about the science is the idea of the bacteria not only clinging to the 12 foot metal statue and moving it, but actually animating it. It’s hard to understand why the bacteria would want or even be able to move the statue like an automaton; bending its knees to walk, and turning its head to [seek out its prey?]. This complete lapse of common sense makes it impossible for the audience to suspend their disbelief and try to enjoy this on any level. Special features on the DVD include only a behind the scenes featurette. ]]> http://www.filmmonthly.com/video_and_dvd/metal_shifters.html http://www.filmmonthly.com/video_and_dvd/metal_shifters.html Video and DVD Mon, 06 Feb 2012 21:03:31 -0600 The Phantom of the Opera is nothing short of monolithic. Since its opening on Broadway in 1987, respectively, it has played more performances on Broadway than any other musical in history. The 2nd longest running Broadway musical is CATS. Guess who also wrote that one? Most people have probably seen Phantom in one or other of its incarnations. Between the movie of a few years ago, the touring company, the productions running in London, New York, Germany, Argentina, etc.... this is a show that has a life of its own. Mr. Lloyd Webber pioneered the art of the pop musical, and was a smart businessman on top of being a creative personality. It was his idea to release singles from his show on the London pop charts before the show was open, in order to stir up excitement and early ticket sales. It worked. Phantom made huge stars out of its original performers, Sarah Brightman and Michael Crawford (don't worry, they show up in the 25th Anniversary), and has since provided jobs for probably most working actors at one point or another. Say what you will about the show, it is probably the biggest ticket-selling machine in musical theater history, and most producers probably wish they had a piece of it. So, the scene is set: for the 25th anniversary of the musical, Cameron Mackintosh, the show's producer, took a few of his dollars and decided to stage the full musical at Royal Albert Hall in London. Think if the Beatles were all living and decided to reunite at Carnegie Hall for one night, play all the songs from all their albums, and broadcast the thing around the world. It's pretty much like that. An epic, rock concert atmosphere for a very complicated and epic show. With a cast of about 135 according to the special features, the tiny stage at the Royal Albert seems about ready to cave in at certain points. It must be said, it's a little unnecessary. Anyone going to see the show at a real theater with a cast of about 40 is not going to suffer from lack of crowd- the actual theater sets are enormous. Because they couldn't recreate the original design in that space, a few great things are lost. Most especially the bone-chilling moment at the end of the first act when the chandelier comes crashing down to the stage. Anyone who has sat through that moment in London or on Broadway will miss it dearly. But, the show is not completely destroyed. Indeed, there are moments when the projections and stage effects are used beautifully. On the whole, though, it is a very different kind of spectacle than the original stage show. This isn't the one to see first, it's the one to collect and keep. It must be said, the Blu-Ray does wonders. The clarity of sound and picture bring what is already a pretty exciting and electrifying event into full force, and if you have a TV big enough... you'll be on the edge of your seat. Probably the best thing about the magnitude of the show is its orchestra. Bigger than any that could fit into a small theater orchestra pit, stocked with every instrument from harp to harpsichord, the music has never sounded so majestic or swelled so high. However, it must be said, that does give the singers a lot to... sing over, as it were. And creates some more unfortunate results with the show's two soprano stars, Christine and Carlotta. High notes pushed that loud rarely escape in tune. The Carlotta, Keira Duffy, is unfortunately lacking. A disappointment as an actress, she doesn't bring anything new to the singing we haven't already heard from a myriad of cast recordings or live performances, and lacks any comedic timing, another essential element to the role. There really isn't much to say about anyone in the minor character category. The comedy that does exist if the actors are skilled enough, is completely missing. Monsieur Firmin and Monsieur Andre are dull and lifeless, and a distraction from the plot, and the Monsieur Piangi has several of his big solos and funny moments taken away from him and distributed to other male chorus members, a strange and mysterious choice. The Raoul, Vicomte de Chagny, is played by Hadley Fraser, and his performance is acceptable, though nothing to scream at. Handsome and with a clean baritone, he does not excite the senses, though he does no disservice to the role. Christine is played by Sierra Boggess, who did the production in Vegas for a long time, also played Ariel the little mermaid on Broadway, and after seeing her in this, it is impossible to imagine her in fins and roller skates. She is a graceful, beautiful Christine, and brings a playful youth to the role I'd never seen before (though I must admit, I can't attest to the age of the usual soprano who plays the role on stage). Her soprano is sweet and 99 percent perfect. But her misses are huge, and unfortunately, her performance of "Wishing You Were Somehow Here Again", Christine's big second act song, is completely over the top. But still, in all, she is a very good Christine. Much better than Emmy Rossum, at any rate. The title role is played by Ramin Karimloo, and he is simply too young to be an effective phantom. Nothing can be said against his singing voice, it is fantastic and he brings a clear, clean tone to all the Phantom's songs. But the gravitas that might be supplied by an older, more experienced actor is clearly missing. One of the cruxes of the show's plot is the confusion Christine experiences over the Phantom's identity; she cannot decide if he is her father's ghost or an angel of music sent to look after her by her father. In this production it looks as though she might be experiencing difficulty from a ghostly older brother. The pros and cons aside, this is not a production to look down on. It is well-sung (mostly), well-acted (mostly), and well-executed (mostly). And more impressive still is the fact learned on the special features that it was all put together in ten days. With how little sleep the lead actors must have gotten, they look fresh as daisies and sing just as well, a huge feat. The special features are slim; a trailer for the Blu-Ray release of the musical sequel of Phantom, Love Never Dies (I hope I get a chance to review that one, too!) and a featurette about the behind the scenes. It is brief but interesting. Not worth buying for those two things but if you want a chance to see the show live in its entirety, this is pretty much your only option. ]]> http://www.filmmonthly.com/video_and_dvd/the_phantom_of_the_opera_1.html http://www.filmmonthly.com/video_and_dvd/the_phantom_of_the_opera_1.html Video and DVD Mon, 06 Feb 2012 17:54:48 -0600 Kimi Ni Todoke (From Me to You) is a slice of life high school drama so full of dramatic emotions and sappy dialogue that it is great! Watching it as an adult, you remember what it was like to be a teenager. If you are a teenager then you will be able to relate to the events, no matter what culture you are. The nature of the themes can speak to anyone in any culture; making friends, finding happiness, and budding romance. While there are situations that deal with Japanese etiquette specifically, like calling people by their given names, even if you are not aware of the societal implications you will still understand the scene. This is not to say that the themes of the anime are completely superficial. If that were the case, while watching Kimi Ni Todoke you would not feel a great connection to the characters. Through all the drama and romance there are deeper themes such as bullying, loneliness, and what it means to truly accept someone as your friend. Kimi Ni Todoke is the story of a high school girl, Sawako Kuronuma, who is misunderstood by her peers and this causes rumors to be spread about her. Sawako has been given the nickname of “Sadako” due to her close appearance to the character in The Ring. Along with the nickname come more rumors. Rumors like Sawako can see ghosts or if you look into her eyes for longer than seven seconds something terrible will happen to you. The truth is that Sawako is a shy naive girl who has been lonely for so long she doesn’t know how to make friends. This first part of the series sees Sawako slowly learning to make friends and become accepted by her classmates. Much of this change is due to one of Sawako’s classmates, Shota Kazehaya. Kazehaya is a popular boy who also happens to be really kind and sees something in Sawako that others don’t. He befriends her and this leads to others doing the same. Now Sawako has another problem; how is she supposed to act with friends? The four-disc, Blu-ray/DVD Premium Edition of Kimi Ni Todoke comes in an 8"x11"x1" beautifully simple cardboard cover-box along with a 28-page, full-color, hard cover book. The book is entitled “My Memories” and is set up much like a scrapbook. It contains gorgeous snapshots from the show, both scenery and character. The writing in the book comes straight from the dialogue in each episode. The book is split into small sections that pertain to each episode. Although they use pictures and dialogue from each episode, they do not give away the plot. It feels as if you are looking at a scrapbook Sawako put together herself. After reading this you feel even closer to her as a character. The book is not just supplemental material for the anime but to your emotions. ]]> http://www.filmmonthly.com/video_and_dvd/kimi_ni_todoke_volume_one_premium_edition.html http://www.filmmonthly.com/video_and_dvd/kimi_ni_todoke_volume_one_premium_edition.html Asian Video and DVD Sun, 05 Feb 2012 14:35:13 -0600 Hannibal Brooks mixes things up with some good action sequences as the group flee various German soldiers, and some decent emotion as Brooks continues to work so hard to protect Lucy. Oliver Reed’s performance is a bit of an anomaly. It’s not bad, but it’s not good. He tries to hit all the comedic moments and emotional moments, but his timing seems to be slightly off at every turn. It feels like he’s trying to be too dramatic or maybe just working too hard to convey connections to the other actors and Lucy. Perhaps the best word to describe the performance is unnatural. On the other hand, probably the best part of the film is the Packy character, played by Michael J. Pollard. Packy is an American, who plants traps for German convoys so he and his men can raid their supplies. Despite the fact that Packy represents a common and stereotypical portrayal of Americans in British narratives (arrogant, ambitious, and near sighted), Pollard manages to give Packy some depth here. Audiences will have to suspend their disbelief more than usual on this one. Pulling too hard on any given plot line can cause it to completely unravel. For example, it’s unclear how Packy manages to keep up with Brooks and Lucy’s adventure. Not only keep up, but actually Brooks keeps catching up with Packy, who has once again set up a new way to sabotage the Germans. It’s also unclear why a large portion of the German army is dedicated to tracking down one British soldier and his elephant before they leave the country. So, try not to over think Hannibal Brooks, and it’s at least good for an enjoyable couple of hours. Not hard to imagine why it never got a proper DVD release before, but apparently it does have somewhat of a cult following, so the dreams of the few have been realized this day. Special features on the DVD include the original theatrical trailer and nothing else. The transfer of the film is pretty clean though. It looks good given this was probably sitting in a warehouse somewhere for the past 40 years. ]]> http://www.filmmonthly.com/video_and_dvd/hannibal_brooks.html http://www.filmmonthly.com/video_and_dvd/hannibal_brooks.html Video and DVD Sun, 05 Feb 2012 12:20:45 -0600 What My Husband Doesn’t Know. Instead, this a taping of a live performance of the play. The difference is small, yet significant, and puts me in the unique position to comment on this as a play rather than a film. The story centers around Lena Summer (Destiny Child’s Michelle Williams), a rich and neglected housewife who begins having an affair with a plumber named Paul (Brian White, Stop the Yard) working on her home. As a play, this has many many flaws, and I have to imagine it’s because playwright David E. Talbert also directed and produced the production, and thus had no one to criticize his work. First of all, there are too many characters here. It’s really a two character play between Lena and Paul, and should be devoted to their relationship. This would be a major change and would change the entire play, but definitely for the better. The inclusion of Lena’s husband, Franklin (Clifton Davis), could arguably be necessary, but there’s a lot of ground to be gained in making Franklin’s distance and absence more literal. All of the other characters are completely unnecessary. Even principle characters like Lena’s best friend, Falana (Tiffany Haddish), and Franklin’s pseudo-father, Mr. Moody (Esau McGraw) don’t contribute anything to the story other than obvious jokes and any cheap innuendo you can imagine. Then we have the characters who could be cut without making any substantial changes to the script at all. Pastor Braddok’s secretary (Chloe Spencer) and Paul’s foreman (Diondre Jones) stand out because they each only appear in one scene and could have easily been written around. I can either take or leave Pastor Braddok himself. His role in the play is as someone for Lena to confess to, which means that all of the scenes between Braddok (Horace V. Rogers) and Lena are very much in the telling mode, not showing us anything new or interesting. So, if these scenes could show us something new and contribute to the overall story, they may earn a status as necessary here. The problem is that these scenes along with a lot of other elements of the play feel like they’re part of a first draft. The next problem with the play is that it seems to have no idea what kind of tone it wants to set. There’s a lot of really bad comedy and presentational acting throughout, but then it’s cut together with an almost melodramatic intensity that feels too out of place. On top of that, the characters will randomly break into song sporadically throughout the play. This musical element feels the most out of place. The first song comes relatively late in the play (for a musical) and so the audience is forced to adjust to a completely different world than the one they’ve been presented with thus far. The other problem is that there will be huge amounts of time between musical numbers, to the point where we forget we’re watching a musical (for lack of a better word). It also has to be said that the songs are not good. Most all of them digress into repetitive, redundant lyrics and thus go on way too long to be effective. Of course, making this a two person play won’t solve the problems with the production. The Paul character’s ability to become completely obsessed with Lena isn’t at all organic or believable. Plus, talking about this particular production, Michelle Williams’ acting shows a lot of room for improvement. Her characterization of Lena changes from scene to scene, which is obviously to some degree a problem with how Lena’s written, but Williams’ over the top gestures and reactions to various situations can get ridiculous fast. This isn’t a bad way to experience a play. By allowing a film camera to capture the action and still having the energy of the live audience reacting, it manages to capture the best of both film and stage working together. It’s hard to see what the audience loves so much about this script, but their reactions do aid the overall production. At one point, Falana remarks that “This would make a great lifetime movie.” So, hopefully that gives you some idea of what to expect here. At least a lifetime movie version of this would stick to one storytelling element rather than cramming a bunch of different ones together. But unfortunately the statement is accurate in that the story is rife with cliché, predictability, and inconsistency. It’s obvious that Mr. Talbert is very passionate about his writing, and maybe his other work is better considering he says in an interview that this is typically not the sort of play he writes, but it’s hard to get over the flaws of What My Husband Doesn’t Know and then actively seek out his other work. Special features on the DVD include a tour of the set, interviews with the cast and crew, and a commentary track. ]]> http://www.filmmonthly.com/video_and_dvd/what_my_husband_doesnt_know.html http://www.filmmonthly.com/video_and_dvd/what_my_husband_doesnt_know.html Video and DVD Sun, 05 Feb 2012 10:13:57 -0600 Sengoku Basara: Samurai Kings is a show any action junkie should not want to miss. Based off of the hit Capcom beat'em up games, the show is set in a fictional version of Warring States period in Japan. Various warlords like Masamune Date, Yukimura Sanada and others fight across Japan for power and glory. When an evil lord, Oda Nobunaga decides to take over all of the land, by any means necessary, all of the warlords decide to team up to him down. This first season was directed by Itsuro Kawasaki, famous for other shows like Legend of the Legendary Heroes and L/R: Licensed by Royalty and produced by Production I.G. While the series definitely takes some liberties to Japanese history, in terms aesthetics and design, Sengoku Basara: Samurai Kings is a great action show and some of the most fun I've had in a while. The first two episodes alone were enough to have me hooked, in terms of the quality and content within. Production I.G does an amazing job to illustrate the intensity and scope of the series with the meeting of Masamune Date and Yukimura Sanada. They cause giant waves of energy to bounce off of one another and even a massive mushroom cloud explosion to show off their manliness and fierce fighting spirit. It is the equivalent to a summer Hollywood blockbuster film and I was just grinning from ear to ear as various battles played out for 13 episodes. While most shows based off of video game properties usually tend to go through the motions and be very bland, this never came off that way. This series is really impressive in the way that it is able to emulate the sheer insanity and chaos of the game and is able to focus that into a clear and concise narrative. From the very designs of the characters, (Masamune Date's horse has handle bars and exhausts pipe, like a motorcycle) to their attitudes, Sengoku Basara has an edge that other shows severely lack and makes you look forward to the action and thrills contained within. If there was a single issue that I'd have with the show is that it might be hard for people to keep up with all of the characters included. There's no real background story to any of the warlords and its pretty helpful if you're already familiar with the Warring States era of Japan. If not, you might get confused as to who these characters are and their alliances to one another. The video on the Blu-Ray discs of Sengoku Basara are encoded in a 1080p, AVC transfer with an aspect ratio of 1.78:1. Production I.G has a rich history of superb animation, with films like End of Evangelion and Eden of the East as part of their resume. The HD transfer of Sengoku Basara places the studio's efforts at the forefront and it passes with flying colors. The color palette is rich and the level of clarity is astounding and all of these details give way to the natural beauty, grand castles and epic battlefields that ancient Japan had to offer. The DVD's that are included look great as well, they're just presented in standard definition. The audio comes in two versions, the English Dolby TrueHD 5.1 channel and the Japanese Dolby True HD 2.0. The mix of the 5.1 track is extremely impressive with the use of incredible panning and its ability to draw one into the large battle sequences. The 2.0 track was the one I stuck mostly, due to the fact that since the show takes place in ancient Japan, it seemed much more suitable that way. It's been a long time since I've seen an anime period piece that delivered as much as Sengoku Basara: Samurai Kings. It's well animated, action packed and delivers an interesting twist into the wars and battles that have created Japan. I think its one of the bes new offerings that Funimation has to offer and kudos to them for bringing it out here. Highly Recommended! ]]> http://www.filmmonthly.com/video_and_dvd/sengoku_basara_samurai_kings_season_1.html http://www.filmmonthly.com/video_and_dvd/sengoku_basara_samurai_kings_season_1.html Asian Video and DVD Sat, 04 Feb 2012 20:38:04 -0600 Madea series. She applauded the franchise’s family-friendly and pro-God morals — completely oblivious to how contrived they really are. That being said, Joyful Noise is a film she’d enjoy. Directed and written by Todd Graff, the film is crafted with a distinct holiness and stars Queen Latifah and Dolly Parton — yes, the Dolly Parton, in her first role in twenty-years — as Vi Rose Hill and G.G. Sparrow respectively, two feuding choir members of the usually tight-knit Pacashau Sacred Divinity Church. The sparks start flying after the passing of ensemble director and the latter’s husband, Bernie (Kris Kristofferson). They intensify when Pastor Dale (Courtney B. Vance) chooses Hill over G.G. (who happens to be the parish’s largest donor) as his replacement. Contributing to the rift between the two families, Sparrow’s rebellious grandson, Randy, visits town and sets his sight on Rose’s daughter, Olivia (Keke Palmer). But, can winning the local gospel competition — a frenzy of foot-tapping audiences and high spirits — return the community to its former glory? Unfortunately, the tired storytelling doesn’t leave much to the imagination and, chances are, you already know the answer to that. Despite drawing inspiration from his childhood, Graff has an awkward fascination with having his characters speak in Christ-induced metaphors. More than once do his characters compare themselves to mice drawn to a piece of cheese (interestingly enough, always in a different context). And that isn’t the half of it — the screenplay for Joyful Noise is simply built on conventions. Expectedly, we discover that Vi’s bitterness stems from elsewhere: Her beau’s decision to reenlist in the Army. And, to drive home the God-is-our-savior moral, her son, Walter (Dexter Darden), who suffers from Asperger’s syndrome, goes on an angry tirade questioning the Lord’s design. In the end, it’s the goody-goody characters — all kept at bay by the clichés that define them — who never allow the plot to escalate to anything more than a glorified pillow fight. There are even mentions of the economic climate. However, the director’s use of close-ups to focus in on propped-up foreclosure signs and storefronts being boarded-up, accompanied by his dramatic scores, make them come off as forced. Plus, he continuously shoves it down our throats, hoping that the protagonists’ faith somehow inspires us. If nothing else, the chemistry between Parton and Latifah is decent. Sure, they’re embroiled in a corny screenplay, but both have charisma. Part of it’s from their ability to laugh at themselves. During a restaurant catfight, possibly the film’s best scene, they megaphone each other’s idiosyncrasies — with jabs being thrown at Dolly’s countless cosmetic surgeries and ridiculous hairstyles and Queen’s heftiness. But it’s all in good fun and must’ve taken an incredibly amount of confidence to do. That translates to the musical numbers, which are completely driven by the duo (though Palmer has a fantastic voice). It’s by sheer coincidence that, during the same month, The Devil Inside, which starred Satan at the crux, reaped my disdain, and Joyful Noise, an ode to the Heavens, earns the same end of my rating stick. ]]> http://www.filmmonthly.com/now_playing/joyful_noise.html http://www.filmmonthly.com/now_playing/joyful_noise.html Now Playing Sat, 04 Feb 2012 19:34:17 -0600 Haywire must’ve started with an all-star poker match. Inviting talents like Channing Tatum, Michael Douglas, Antonio Banderas, Michael Fassbender, and Ewan McGregor for beer and gambling, the director, confident with his hand, decided to raise the ante. “How about we make this interesting? Relativity Media dumped me with a script. It’s written by Lem Dobbs, he’s nobody really. It’s basically the Bourne series, but with a sexy female lead. So, let’s say, if I win this round, you’ll all have to star. Sound fair?” Too much booze and a bad bet are the only explanations for the talent attached to this embarrassment. Through its entirety, I couldn’t shake the feeling I was watching a well-financed student film. With its dated score and amateur editing, Haywire looks and sounds like something crapped out the bowels of The New York Film Academy. And although it’s Soderbergh “paying homage” to B-movie schlock, the work’s lack of innovation — aesthetically and narratively — make it just that: Cinema you’d find buried beneath James Bond cassettes at your local rental shop, circa the 1980s. And while shipping the fight sequences without underlying scores adds rawness to the action, much of post-production was spent on hounding the crew to haphazardly juxtapose color and black-and-white. It’s an awkward strategy meant for atmospheric purposes. That’s not to mention the musical selections, which sound like the preset loops packaged in with popular editing software. But, at the heart of the iPhone image quality (damned by piss poor lighting) and sparse gunplay, there’s a decently entertaining storyline, despite it being hard to follow at spots. Haywire chronicles tough-as-nails black ops soldier Mallory Kane (played by MMA superstar Gina Carano), who, after botched missions in Dublin and Barcelona, is betrayed by her handler Kenneth (McGregor), must escape an international manhunt while exacting revenge on those who’ve burned her. Douglas stars as a government employee, whilst Fassbender, Banderas, and Tatum, play a dirty British agent, an official contact, and Kane’s former partner, respectively. Apart from being predictable and some wonky interplay, there isn’t anything too troubling plot-wise. There’s a beginning, middle, and end — much more than should be asked for during the black-hole month of January. The only real dead-end Dobbs wrote into the movie was to include Scott (Michael Angarano), a random schmuck who’s carjacked by Mallory and forced to listen to her war stories. Notwithstanding a vague explanation of Kane’s intention whilst sharing her deepest secrets with him, the character serves almost no purpose and could’ve easily been cut. Nevertheless, Carano is, surprisingly, a decent actress. Some of her lines come off stiff, but her charisma stems from the fact that she’s kicking the jollies out of Hollywood’s macho-men. And, for a professional fighter, she’s incredibly attractive — likely explaining her male counterparts’ willingness to submit to her. But, still on the men, there aren’t any memorable performances in that department. Even Fassbender and McGregor, two of my favorite performers, are disgustingly average. It’s a shame considering that I, leading to the film’s release and for the majority of its running-time, desperately tried to enjoy Haywire. And so it remains a mystery as to why Soderbergh, usually regarded as the go-to guy for indie actioners, let it all go, well, haywire.]]> http://www.filmmonthly.com/now_playing/haywire.html http://www.filmmonthly.com/now_playing/haywire.html Now Playing Sat, 04 Feb 2012 19:29:36 -0600 Man on a Ledge caters to our barbaric needs with mildly entertaining fisticuffs and gun-fights without coming off as hypocritical. However, running on a 22% of Rotten Tomatoes and 40% on Metacritic, it took a leap-of-faith to see the movie. When I did, I went with low expectations. To me, the trailers were appealing enough and, if nothing else, I could drool over Elizabeth Banks, who plays Lydia Mercer, a disgraced suicide negotiator. While she’s no Meryl Streep, it’s surprising how nuanced her chemistry with leading man Sam Worthington is. Because both performers are gripping and instantly likable, they make up for the shallow narrative devices and corny dialogue. Nick Cassidy (Worthington) is a convicted thief/ex-cop who’s escaped prison to prove his innocence. By standing outside his 21st floor suite at New York’s Roosevelt Hotel, he provides ample distraction for his brother, Joey (Jamie Bell), and Angie (Genesis Rodriquez), a former house burglar, to infiltrate Englander International, the home of the asinine businessman (Ed Harris) who framed him for stealing the Monarch Diamond, which fetches around $40 million on the market. “Jump! Jump! Jump,” the crowd below Cassidy chants. Meanwhile Suzie Morales (Kyra Sedgwick), a newscaster desperate for a scoop, hopes he’ll drop in-time for her program’s morning edition. For the most part, Pablo F. Fenjves’ screenplay is built around the idea of people craving violence. Throughout Man on a Ledge, New Yorkers rant about the inconveniences that Nick’s antics have caused, oblivious to the sanctity of life (they even go as far as to bet on whether he’ll decide to take the plunge). But the other major theme is “man versus state.” Here, Fenjves becomes painfully didactic, employing a random spectator to narrate his beliefs. The latter topic feels carelessly added to reflect the current Occupy Wall-Street movement, which remains (somewhat) relevant. Yet the screenplay and direction really drop the ball during Joey and Angie’s scenes, which pale in comparison to Nick’s ordeal. It’s mostly because cinematographer Paul Cameron (who’s worked on films like Man on Fire, In the Land of Women, and Gone in Sixty Seconds), does an excellent job reminding his audience how high Cassidy stands. Helicopters swooping in dangerously close and gun-toting officers scaling down the side of the building hyperbolize our vertigo, while the concrete-toned visuals of Manhattan’s skyline perfectly reflect the city’s distinct atmosphere. Unfortunately, shots inside of a generic office building don’t have the same impact. But, in spite of its inconsistencies, and an ending as predictable as death and taxes, Man on a Ledge is great finger food for a time of the year when cinematic delicacies are scarce.]]> http://www.filmmonthly.com/now_playing/man_on_a_ledge.html http://www.filmmonthly.com/now_playing/man_on_a_ledge.html Now Playing Sat, 04 Feb 2012 19:25:57 -0600 We Need to Talk About Kevin, the neo-surrealist drama helmed by Lynne Ramsay. Based on a book of the same name, the film, scribed by the director alongside Rory Kinnear, explores the theme of “nature versus nurture” through the eyes of Eva Khatchadourian (Tilda Swinton), a disenchanted mother coping with the aftermath of a school massacre her son, Kevin (Ezra Miller), orchestrated. Unlike Pedro Almodóvar’s use of reds to symbolize passion, Ramsay uses them to embody rage and guilt. From the opening scene — a dream sequence set in the midst of Spain’s annual La Tomatina celebration — the color represents regret Eva, a once-intrepid traveler, harbors after giving birth. Furthermore, either as a prank or an act of retaliation, the neighbors vandalize her porch with blood-hued paint; Eva’s a selfish woman and doesn’t make the effort to sympathize with her son’s victims — rather doing her best to escape them — and this constant harassment stops her from doing so. The movie never shoves opinions down your throat. Personally, rather than being given everything in advance, I enjoy passing my own judgments. We Need to Talk About Kevin leaves more questions than answers. Considering Mrs. Khatchadourian’s role as the narrator, were aspects of her story exaggerated? Did Kevin’s father’s (played by John C. Reilly) soft touch and Eva’s culpability influence Kevin’s evilness? Was he born a monster? Could it have been a chemical imbalance or mental disorder? Despite subtle references, these questions are never concretely answered. What we know for certain is that Kevin’s a nihilist kid who’s hungry for attention. The filmmakers leave the rest up for debate. As expected, Swinton delivers a tour de force performance. But while her efforts have been acknowledged by associations such as the Golden Globes, BAFTA Awards, and the European Film Awards, the Academy has snubbed the actress once more. Nonetheless, she excels by playing to her character’s distinct reliability — both as a woman forced to give up on her dreams, and a mother who, handed the short end of the child-rearing stick, desperately tries not to break — remaining on neutral ground with her audience. Also exceptional are the Kevins. In addition to Miller, there’s Jasper Newell and Rock Duer, the two child-actors who play the character’s younger incarnates. They deserve recognition for beating the stereotype that young performers suck. That notwithstanding, Ezra dominates the screen, and with productions like Another Happy Day and City Island under his belt, he’s become well-rehearsed in independent cinema. Painfully miscast, however, is Reilly. Although some of the blame is on the screenplay, which fails to develop Mr. Khatchadourian as anything more than a blubbering fool, the actor just didn’t convince me, and I’ve always considered him underrated in drama. In We Need to Talk About Kevin, he’s out of his element. He doesn’t hurt the film as much as he could have, but, at certain points, his performance introduces an awkward brand of comedy that doesn’t fit into this dark-as-tar drama. Fundamentally, though, Ramsay, with We Need to Talk About Kevin, both serves up hard-hitting social commentary, and warns us that, sometimes, condoms are the right call.]]> http://www.filmmonthly.com/now_playing/we_need_to_talk_about_kevin.html http://www.filmmonthly.com/now_playing/we_need_to_talk_about_kevin.html Now Playing Sat, 04 Feb 2012 19:22:36 -0600 Chronicle, Josh Trank’s (who’s previously worked on TV’s The Kill Point) theatrical debut, we learn that, much like how it is with young love, when high school students are confronted with superpowers, things can quickly escalate from skipping stones and playing aeronautical football to committing crimes of passion and bouts of melodrama. Yet, despite the nuanced characters, what stuck most with this lost-footage drama is that, unlike others that have utilized the gimmick (*cough* The Devil Inside *cough*), it concludes on a satisfying note, rather than leaving its audience with a crass cliffhanger. That’s not to cut right to the end; the journey’s just as epic. Starting innocently enough, we’re introduced to Andrew Detmer (Dane DeHaan), a closeted outsider raised by an abusive dad (Michael Kelly) and sickly mother (Bo Petersen); Matt Garetty (Alex Russell), the former’s cousin and designated driver; and, lastly, Steve Montgomery (Michael B. Jordon), a jock and prospective politician. During a party thrown by the graduating class of 2012, the trio stumbles onto a crystallized mass that bestows them the power to lift, throw, and crush things telekinetically. Disappointingly enough, the object’s origin is never disclosed as Max Landis’ screenplay delves into “what if” rather than “how” this group of teenagers acquired such strength. Hotfooting on a brief 83 minutes, Chronicle is served with the bare essentials. In retrospect, the lack of explanation is a let-down, but it’s hardly noticeable while watching the film. Save for an aimless romance between Matt and Casey Letter (Ashley Hinshaw), the pretty photographer and school blogger, there aren’t many superfluous moments. Furthermore, although Landis and Trank sprinkle in Hollywood clichés — namely during the climax — you can’t help but forgive the characters, whom, realistically, when thrust into this fantastical world, would have to rely on action movies for guidance. The three leads are charismatic and believable. Despite being in their early 20s, the actors reclaim their glory days nicely, avoiding one major problem most movies about high school students have: Performers who don’t look or sound like they’re still in it. Admittedly, there are slight kinks to their work, but, with poised screen presences and magnetic portrayals of vengeance and power, these freshman thespians work excellently as an ensemble — exactly what the script demanded of them. Apart from the writing, the effects always teeter on undistinguished and astonishing. It’s ironic that the simpler the situations are, the wonkier the CGI is: Watching LEGO pieces stack themselves struck me as cheap stop-motion, however, seeing the heroes narrowly escape overflying airplanes and crash through skyscrapers was a pulse-pounding experience. Nevertheless, visually, Trank succeeds in fleshing out his camcorder aesthetic. He uses Andrew’s power to have the camera float and create 360-action and overhead angles (with incredibly steady aim nonetheless). This negates the dullness of a prolonged point-of-view shot. And, thanks to the film’s brevity, it’s a stratagem that isn’t overdone or nauseating. But I’m interested to know: What would you do if you had superpowers? Seek revenge? Rob a few storefronts? Show-off? After seeing Chronicle, I’m convinced I’d do everything but trust the kid with a mean mug and the camera.]]> http://www.filmmonthly.com/now_playing/chronicle.html http://www.filmmonthly.com/now_playing/chronicle.html Now Playing Sat, 04 Feb 2012 19:18:06 -0600