Posted in: Disc Reviews by Gino Sassani on June 8th, 2011
One of the best signs that a film is a disaster is when the movie's own star can't seem to stop telling the world just how terrible it really is. Mickey Rourke at first had nice things to say about the film and particularly Megan Fox, calling her the best young actress he knew. Later he backtracked and qualified the statement about Fox. But his rantings about the film Passion Play have not been softened at all. He calls the film "Terrible" and a "Train wreck" while trying to assure us that he still loves director Mitch Glazer. We'd ask Mickey himself to write the review for the film here at Upcomingdiscs, but we tend to try and remain family friendly, and he's not above dropping a few F bombs to make his point. I guess the job of evaluating this rather strange film falls to me, %$@(&.
Okay, I guess we'll start with one of the most ridiculous stories I've ever seen made into a movie. Meet Nate (Rourke). He's a washed-up trumpet player who used to be pretty well known. Now he plays in nightclubs owned by mobsters for small change, small change he likely as not turns into booze. Unfortunately, Nate couldn't help but sleep with the boss's wife. Now Happy (Murray) wants him dead. A couple of his thugs take him out to the middle of the desert for an old-school hit. Nate is miraculously saved by a strange group of white ninjas. He wanders the desert and stumbles into a sideshow where he sees Lily (Fox), a woman with bird's wings. When he finds out they're real, he breaks her out of the control of the abusive carnie and falls in love with her. But not before he sells her out to Happy in an attempt to trade her for his own life. Of course, he regrets the decision and wants to save Lily from Happy's clutches, but she doesn't necessarily want his help. You know, because of the whole betrayal thing. The ending leaves a few questions, but I'm not sure the answers are worth thinking much about. Mickey's right. This is a train wreck. Couldn't have said it better myself.
Posted in: Disc Reviews by Gino Sassani on May 31st, 2011
"What I do requires a certain mindset. I do assignments, designated targets. Some jobs need to look like accidents. Others must cast suspicion on someone else. A select few need to send a clear message. Pulling a trigger is easy. The best jobs are the ones nobody even knows you were there."
Arthur Bishop (Stratham) is an accomplished mechanic. But you don't want to bring your Toyota to him, unless you intend to use the car to get rid of a pesky spouse. You see, he's the kind of mechanic that fixes a different kind of problem. He removes unwanted people from your life. That's the basic set-up for this Simon West remake of the 1972 film that starred Charles Bronson as Bishop. That movie is a kind of classic, at least to Bronson fans. It's noted for a rather unique beginning where there is no dialog for the first 15 minutes of the movie. No such effect here. What you will find is an action-packed film to watch with the guys while you send the ladies off to watch the latest romantic comedy.
Posted in: Disc Reviews by Bob Ross on May 31st, 2011
Imagine that ‘40s tough-guy detective Philip Marlowe tangled with a billionaire mad scientist, along with the usual quota of thugs, strippers and sarcastic cops. Now suppose that writer Erik Jendresen and director Tony Krantz decided – perhaps over a meal of magic mushrooms and moonshine – to hire a fancy-pants cinematographer, rewrite author Raymond Chandler, and offer up what they obviously hoped would make them film-noir Fellinis for the new century. That would be the apparent cultural intent of The Big Bang, a vividly photographed but otherwise inarticulate effort that offers in-jokes and stylistic novelties that might entertain trivia nuts seeking obscure references, but will otherwise addle anyone seeking coherence or consistency.
Let’s start with the obvious nods to author Chandler. The title reminds us of The Big Sleep, a Marlowe favorite. And the plot kicks off with a direct swipe from another Marlowe mystery, Farewell, My Lovely (also made under the title Murder, My Sweet). In each instance, a hulking goon barges in on our unsuspecting hero – played here by Antonio Banderas as a relatively prim gumshoe named Ned Cruz. The lovelorn lug needs to find his long-lost girlfriend, who promised to stay faithful while he was in prison.
Posted in: Disc Reviews by Gino Sassani on April 21st, 2011
I've long held the belief that the folks at Pixar are really just children who have refused to grow up. That doesn't mean that they don't have to deal with the realities that adulthood thrust upon each of us. I'm sure they have families and are responsible citizens and parents. They consistently make movies, that while there is certainly appeal for children, are obviously intended for adults, adults like them, who have decided to never grow up. If you ever required proof of that concept, The Incredibles should prove the point quite nicely. Brad Bird and his team weren't writing about superheroes. They decided to do a movie about themselves. Finally out in high-definition Blu-ray the team now calls all of us like-minded souls to join the fold. This Blu-ray serves as our membership card and absolutely grants all of the privileges of membership right from your most comfortable home theatre seat. Count me in.
Bob Parr (Nelson) has a secret identity. He's in reality Mr. Incredible. He is a superhero who has dedicated his life to fighting crime. He has super strength and other abilities. He's not the only one. There is his best friend Lucius (Jackson) better known as the cool hero Frozone. There's also Helen (Hunter) who protects the city as Elastigirl. She has the same powers that The Fantastic Four's Mr. Fantastic has to stretch her body. Bob and Helen get married and join their superpowers with two super kids. Dash (Fox) has super speed and Violet (Vowell) has the abilities of The Fantastic Four's Susan Storm. She can become invisible and create powerful force fields. Unfortunately, the world has had enough of masked heroes. Lawsuits cause the heroes to turn in their capes, and they are put into a sort of witness protection program where they must swear off crime fighting. That's been hard for Bob and Lucius who do a little rescue work on the side while their wives think they're out bowling. It's a good thing, too. A new super-villain has emerged, and now it will be up to the Parr family to save the world from Syndrome (Lee), a one-time stalker fan who has decided to get revenge on the hero who once spurned his advances to join him.
Posted in: Disc Reviews by Gino Sassani on April 6th, 2011
"We all know the story. Virginal girl, pure and sweet, trapped in the body of a swan. She desires freedom, but only true love can break the spell. Her wish is nearly granted in the form of a prince, but before he can declare his love, her lustful twin, the Black Swan, tricks and seduces him. Devastated, the White Swan leaps off a cliff, killing herself, and in death finds freedom."
Darren Aronofsky made a huge name for himself with The Wrestler. That film was a great comeback for Mickey Rourke, who was ripped off at that year's Oscars by the more politically correct Sean Penn. Aronofsky considers The Black Swan to be a companion piece to that film. You will certainly be able to see what he's talking about, but he's missing one important element in this film. He doesn't get near the powerful performance out of Natalie Portman that he did from Rourke. She was also nominated for an Oscar, but unlike Rourke, she didn't deserve to win it. She didn't.
Posted in: Disc Reviews by Gino Sassani on April 5th, 2011
"And it came to pass in these days that a decree went out from Caesar Augustus that all the world should be taxed. And all went to be taxed, everyone into his own city. So it was that Joseph, a carpenter, went up from Galilee unto Bethlehem to be taxed with his wife, Mary who was with Holy Child."
Every spring around the time of Easter you could count on several annual films to make their way to televisions across the country for special family presentations. For Easter you had The Greatest Story Ever Told and King Of Kings. For Passover there was always The Ten Commandments. And so it is an appropriate time to see all three of these films make their way unto high definition and Blu-ray for the very first time. We've already reported on the excellent release of The Ten Commandments. Our review of The Greatest Story Ever Told will come to these pages very close to Easter itself. That leaves the one more in this Holy Trinity of movies to review.
Posted in: Disc Reviews by Bob Ross on March 30th, 2011
A newspaper article infuriates the White House, which retaliates with all its political might to discredit the story, crush its author and cover up its own internal corruption. Sound familiar, like maybe All the President’s Men? If that’s among your favorite docudramas, then make room on the shelf for Fair Game, a real-life paranoid trip that unfolds across continents but finds its emotional center in a quiet suburban home.
There are striking similarities between the 1976 Redford-Hoffman classic and the inexplicably overlooked Fair Game. There are also major differences: The ’76 film exudes the idealism of its era, while the new one is steeped in the cynicism of modern media. The older movie is told from the viewpoint of hustling young reporters, while the one released this week on video comes through the eyes of a married couple -- respected officials whose careers collide in a cataclysm of government disinformation. Yeah, there’s another huge difference to point out: This time, the good guys don’t win.
Posted in: Disc Reviews by Gino Sassani on March 29th, 2011
All eyes are on Angelina Jolie; okay, so that's not much of a surprise, is it? But, I'm talking about the opening scenes of Jolie's partnership with Johnny Depp in the remake of the French spy thriller Anthony Zimmer, retitled for the American audience, The Tourist. Her character Elise is attracting a lot of attention from men hidden away in vans with surveillance equipment trained on her every move and from every angle. No, it's not the paparazzi this time. Elise is being followed because the intelligence community believes she will lead them to their real target, an elusive master criminal named Alex. Instead Elise merely receives a letter which she proceeds to burn and walk away. The agents swarm on the smoldering paper, convinced it's a message from Alex and a clue to his whereabouts. It seems he's gotten away with a ton of money, and sources say he has used some of those riches to alter his appearance, and Elise is the only clue they have left.
The note has instructed her to take a specific train and locate a random person that approximates his size. The idea is to convince the agents that the rube is Alex, thus distracting them from their true quarry whom she is to meet in Venice. On the train, Elise chooses math teacher Frank Tupelo (Depp) for the ruse. She develops an odd attraction for the man and invites him to stay with her in her lavish hotel suite. A series of mistaken identity gags gives Depp a chance to shine in the role, while Jolie offers the window dressing and emotional attachment for the team. Expect plenty of misdirection and red herrings.
Posted in: Disc Reviews by Gino Sassani on March 24th, 2011
The home video release of Hereafter, like its Asian box office release, is the victim of bad timing. The movie has been pulled from theaters in Japan since the tragic events that have struck that country in recent weeks. It's unfortunate that the movie opens with one of the most realistic depictions of a tsunami that I've ever seen. The ultra-realism will be an emotional pang for anyone who shares the sadness of the current disaster. The film has suddenly been criticized for its graphic portrayal, but that kind of statement bears the mark of the worse kind of insincerity. Anyone who has seen the recent works of Clint Eastwood knows that he's never been about such things. Eastwood has learned to mine the vast treasures of the subtle in recent years, and the scene here is an integral part of the story he's trying to tell. The movie was filmed long before the Japanese incident, and you certainly couldn't have expected anyone to anticipate such a thing. Still, with all of that said, this is not a movie you should be watching if you find yourself sensitive to those images. With the real images we've seen on our television and computer screens, this will be hard for anyone with a heart. I'm sure that Eastwood himself has experienced strong emotions in the last week or so. Is it disrespectful to watch something like this now? That's a question you'll have to answer for yourself. I will say it's an emotional experience. Perhaps it's a film best saved until distance has dulled some of the pain. It was absolutely the right move to pull it in Japan.
The film tells three very separate and distinct character vignettes that don't converge until the final moments. Each of the three characters has been touched by death in some fashion or another.
Posted in: Disc Reviews by David Annandale on February 24th, 2011
Underwater tremors open up a cave that has been sealed off from the rest of Lake Victoria for millions of years, unleashing a ravenous school of giant piranha. Making short work of a cameoing Richard Dreyfuss (in his Matt Hooper clothes), the fish descend on a resort town in the middle of Spring Break celebrations and so, naturally, the financially-minded authorities Won't Close The Beaches. As Sheriff Elizabeth Shue tries to find out what's going on with all the bodies showing up, her son (Adam Scott) unwisely volunteers to act as location guide for Jerry O'Connell (sleazing it up as the director of a Girls Gone Wild clone production), and winds up far from help when the fish launch their attack in earnest.
Alexandre (High Tension) Aja's remake is nowhere near as clever as the original, but it is highly entertaining, at least once the rampage is properly underway. This is easily the goriest summer movie in recent memory, and everyone involved seems determined to deliver on the trash value as thoroughly as possible. And while I have plenty of fondness for the retro-grindhouse trend, there is something going a little awry when the supposedly arch, self-conscious, post-modern films are more exploitive than the movies they're echoing. So while Piranha does boast one of the best severed penis gags I've seen in ages (one that loses some of its awesomeness by being reduced back to 2D), the endless parade of naked breasts, the obsessive need to mutilate them, and the clear expectation that the audience laugh at the result, is more than a little off-putting coming from filmmakers who surely know better but decide to indulge themselves all the same. In the end, what Piranha does well, it does very well indeed, but its lapses in judgment are pretty noticeable, too.
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![The Big Bang [Blu-ray] dvd cover art](https://upcomingdiscs.com/ecs_covers/the-big-bang-blu-ray-large.jpg)
![Black Swan [Blu-ray] dvd cover art](https://upcomingdiscs.com/ecs_covers/black-swan-blu-ray-large.jpg)
![King of Kings [Blu-ray] dvd cover art](https://upcomingdiscs.com/ecs_covers/king-of-kings-blu-ray-large.jpg)
![Fair Game [Blu-ray] dvd cover art](https://upcomingdiscs.com/ecs_covers/fair-game-blu-ray-large.jpg)
