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  • REview: 'Diary of a Bad Lad

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    Under discussion:

    Cloverfield  (2008)

    Quarantine  (2008)

    Who are these people?" is what I repeatedly asked myself when perusing the press release pages of accolades bestowed on the British thriller, Diary of a Bad Lad.

    Chris Bernard called it “Absolutely superb...and completely inspiring” across the top of the promotional materials. Who is Chris Bernard? Good question, since the press packet did not attribute his name to anything. According to “the Google,” he's either a model from Lexington, Kentucky, a married software designer from Chicago, the author of Drop Shipping Sucks, or the founder of the Las Vegas Institute of Noetic Sciences Chapter.

    And as insightful as any of those Chris Bernards may be about film, I am not sure how much I trust their and value their opinions. Perhaps it's time to rethink my credentials as a paid film critic, but color me bored. I just could not enter the groove that Diary of a Bad Lad was trying to create.

    It unfurls as yet another 'found footage' pic, supposedly spliced together from more than 30 hours of "investigative footage". What I watched looked more like outtakes cobbled together from Guy Ritchie test reels.

    The faux documentary format is often the blessing for the first-time filmmaker and the curse for the audience. To Bad Lad's credit, it was apparently completed a number of years ago, placing it pre-Cloverfield and Qurantine. But that does not excuse it from the sheer lack of narrative focus and complete slight of character development.

    From what I am able to ascertain, Barry Lick (played by Jonathan Williams), a swarthy film professor, hires a gaggle of his students to help him film a drug deal that ultimately goes sour. Instead of high-tailing it out of Dodge, he claims that he wants to capture the gritty realism of the proceedings and demands they keep shooting — even as they dispose of a dead body and consume copious illegal substances themselves.

    It's one thing to film an event as it unfolds; it's quite another when you yourself are committing said crime, implicating yourself in the process. It is exactly this little narrative nugget that kept me from investing my interest in any of the characters or events of Lad.

    Then, there are artistic flourishes which completely remove the viewer from the documentary aesthetic it tries so hard to create. During more than one scene, the characters are seen snorting drugs and the director alters the film's soundtrack, which is supposed to emulate the character's high, but moves it completely out of the realm of documentary.

    Then there is the dilemma of whacking through the thicket of accents, and I watch a lot of British TV and film. I am never one to protest reading subtitles, and I'll even take the time to look up cultural-specific witticisms, but Lad's amateur recording devices made it near impossible for the outsider to even decipher what was being said at times, much less extract any meaning from it.

    Some scenes tended to go on forever, such as the amateur 'porn footage' that begins as amusingly playful, but drags on into tedium after five minutes or so.

    It's commendable on a sheerly artistic level, thanks to director Michael Booth, but perhaps a little too impressed with itself, soaking in some of the bells and whistles of Apple's home filmmaking programs — a grainy filter here, a color drain there.

    It does all this at the expense of character development. Too often, the film feels like outtakes from a film, with various seedy sorts mingling without purpose or direction. And while the actors involved are all first-timers, they fail to pull off the naturalism that is required for a film that is supposed to appear more real than a staged theatrical picture.

    Director Booth has obviously paid attention in film class when they covered the chapter on visual effects, but must have dozed off during the lecture on character. This is one Diary that perhaps should have remained under lock and key.


  • The best and the rest in 2008 mainstream movies

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    Under discussion:

    Fight Club  (1999)

    Gerry  (2003)

    Casino Royale  (2006)

    88 Minutes  (2008)

    Zodiac  (2007)

    Sunshine  (2007)

    Iron Man  (2008)

    The Dark Knight  (2008)

    Wall-E  (2008)

    The Love Guru  (2008)

    Tropic Thunder  (2008)

    The Happening  (2008)

    U2 3D  (2008)

    Righteous Kill  (2008)

    Seven Pounds  (2008)

    Twilight  (2008)

    Milk  (2008)

    Sex and the City  (2008)

    Disaster Movie  (2008)

    Make no mistake, 2008 was the year of the woman. From politics to multiplex, they were the most newsworthy.

    At the box office, week after week brought about stories about how, mother of all shockers, women enjoy going to the movies too. From summer “event movies” (usually an exclusive boys tree house where "No Gurlz Allowd"), to record-breaking such as best opening for a female director, women were the new black at the box office.

    In 2008:

    • Twilight was the highest-grossing film opening by a female director (at $70 million);
    • It received the second-largest advanced ticket sales, trailing only The Dark Knight;
    • Sex and the City was the best opening ever for an R-rated comedy;
    • The SATC gals also debuted as the fifth best R-rated film of all time;
    • The film also bested Mission Impossible as the best debut of a film based on a TV show.

     

    Now, perhaps next year we can do the same with good movies.

    Sex in the City was the female equivalent of Iron Man, replacing magical gadgetry with matching accessories and pyrotechnics for Prada. The other glass ceiling-shattering film, Twilight, featured a lead who thankfully did not have to resort to sex for empowerment, but she really didn't do much else, either. Twilight's accolades are deserved for what it accomplished behind the camera, not what was captured on it.

    Though there were film aplenty that could populate both lists, I tried to limit this list to films that would have played in most major cities outside the metropolitan areas.

    BEST

    The Dark Knight: Let me join the chorus of hosannas for this little underrated indie gem, for I know it could use the help financially.

    WALL·E:
    A family film with a virtually dialogue-free first half, a protagonist made of metal, an Earth barren of life and squelched by pollution, a cuddly cockroach sidekick, and a human cast that's a Dorito away from permanent bedrest. A film of staggering beauty from a company for which that is a trademark feature.

    The Curious Case of Benjamin Button:
    Director David Fincher's most accessible, polished film to date. While Zodiac and Fight Club may resonate longer, Button is the kind of marriage between theatrics, epic scope, and pure emotion that lands him in the top tier of working directors. Winning, tender performances by Brad Pitt and Cate Blanchett only further cement the film's top 10 placement.

    Burn After Reading:
    After bumming us out of us with last year's stark, desolate (but excellent) No Country for Old Men, the Brothers Coen demonstrate their sharp comic chops with this irreverent, all-star dissection of middle-age madness and frustration of lives lived that come nowhere close to youthful aspirations.

    Milk: Sean Penn offers further proof of his necessity in cinema today with his ingratiating portrayal of slain politician Harvey Milk. Director Gus Van Sant lifts his vision from his navel (where it was focused during films such as Gerry and Last Days) to create a sensitive, intimate biopic that is saved from maudlin tendencies by Penn's presence.

    Tropic Thunder: Bold, unexpected comedy that does not wear out its welcome by the third act, like so many other mainstream comedies. Ben Stiller directs Robert Downey Jr. to his second standout performance this summer.

    Quantum of Solace:
    Some have decried the fact that Daniel Craig's Bond is just too mean. But Solace, which feels like a perfect extension of Casino Royale, feels as though it is taking its sweet time in creating the psyche of someone who has reason to be known as the greatest super-spy the world has ever known.

    Let the Right One In: This is a bit of a cheat, since this may have only appeared on area screens as part of a film festival, but its effect is one that reverberates far outside its limited runs nationwide. In a year when Twilight has been garnering all the attention, The Right One has become the one true vampire (and adolescence) film whose bite leaves a mark and should be sought out on DVD before the inevitable US remake. 

    U2-3D: Demonstrating just why they are the world's biggest rock band, U2 raised the roof with this truly cinematic 3D spectacle that not only captured the feel of one of their concerts, but invited the audience on stage to jam with Bono and the boys.

    Slumdog Millionaire: Danny Boyle never disappoints, even with his misfires (A Life Less Ordinary, Sunshine). But he nails it again with Slumdog, a rather pedestrian tale told with wit, undeniable humanity and delivered with uncompromising conviction.

    WORST


    The Happening: When wind is your chief villain, it's time to rethink the script.

    The Love Guru: Mike Myers steps in Deepak doo-doo.

    Sex and the City:
    Inside this film's Sax Fifth Avenue window dressing lies the the cold, calculated heart of an empty Wal-Mart.

    88Minutes/Righteous Kill:
    Al Pacino should have known better after working with director Jon Avnet in 88, but instead enlisted fellow legend Robert DeNiro to further Kill both their careers.

    X-Files: I Want to Believe:
    But now I no longer do.

    Seven Pounds:
    Will Smith packed his bags for a guilt trip, and we're forced to ride along in the back seat.

    An American Carol: Looks like Republicans were just as good at making films as they were winning elections in 2008.

    Meet the Spartans/Disaster Movie:
    Cinematic parody: Born 1923, Died 2008.


  • Eastwood's motor still revs in 'Torino'

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    Unforgiven  (1992)

    Dirty Harry [Film Series]  Production Year

    Gran Torino  (2008)

    Clint Eastwood directs two different types of films, both with a steady, sturdy hand and pinpoint focus. And while they may not all be million-dollar babies, they are reliable and marked with a love of the craft.

    Occasionally he'll swing for the fences, such as with his epic, both-sides-of-the-coin World War II-fer, Flags of Our Father and Letters From Iwo Jima, and the sweeping Unforgiven. Other times, he seems to just want to get things off his chest, such as in Gran Torino, his second release in as many months.

    For those who long for his Dirty Harry days, you've got it, punk. In Torino, he's Dirty Walt (Mr. Kowalski, as he likes to be addressed), a hardened veteran whose world is becoming increasingly smaller — squelched by his alienated sons, who connect with him only in times of need, and his neighborhood, with its increasing foreign population and gang violence.

    Walt is first introduced to us at the funeral of his wife. Filled with pain and anger, Walt takes every opportunity to unleash his racist, bigoted aggression on anyone within earshot. In church, he growls "Jesus," which seems more of a swear than a prayer. He's like Archie Bunker without the laugh track.

    His new neighbors, a Hmong family with two young adult children, are easy targets for his ire. The youngest, Thao (played by newcomer Bee Vang) runs afoul with some gangbangers who force him to steal Walt's prized titular vehicle. It results in Thao eyeing the losing end of Walt's rifle and the menacing thugs fleeing in frustrated failure. (Wily Walt, unwilling to pronounce his name, calls the boy 'Toad,' which is actually one of the more kind nicknames he bestows.) Thao's precocious older sister, Su (played with natural effervescence by Ahney Her), unfazed by Walt's forked tongue, wedges herself, Thao, and their family into Walt's life.

    There is nary a moment in Torino when viewers would be surprised at what transpires, but the film rests on Eastwood's directorial foundation, which is as granite solid as his glare, and it's easy to invest in his character's plight, even if it is mostly self-induced. And even though this film hasn't a fraction of its scope, it does share Unforgiven's vision of an America that is slipping into a new era and one man's resistance to going quietly.

    It is anchored by Eastwood the performer, who playfully tweaks his big screen tough guy persona without mocking it, like DeNiro and Brando did in their latter years. At 78, Eastwood still looks as though he could take down a small flock of thugs, but he also shows the folly of his character's eye-for-an-eye mentality.

    Like Walt's Torino, the film is polished and purring. It motors along with muscle, but just as the Ford Torino was never quite as symbolic as, say, the Mustang, the film is modest and dependable, not a flashy award-worthy affair. In fact, were it not for Eastwood's involvement, it's hard not to think that this film would barely make it to the screen, most certainly not with the splash it's currently receiving.

    But it is two more hours we get to spend on screen with an icon who, unlike the beleaguered American auto industry for which his character once worked, is still going strong.


  • Penn serves up warm 'Milk'

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    Under discussion:

    Planet Terror  (2007)

    Milk  (2008)

    W.  (2008)

    I'm not sure what is more sad: politician Harvey Milk's life being cut short by an assassin's bullett, or the recent passing of the California's reprehensible Prop 8 Bill, making it seem this man's death may have been in vain.

    Sean Penn inhabits the lead role in 'Milk', and through him we can see just how magnetic a man the San Francisco candidate was and how easy it must have been to warm to his cause.

    But Penn does not lionize the man, unafraid to show his fears, doubts and flirtation with hubris as his voice begins to reverberate across the state and the nation. To see Penn, who often appears pensive and prickly on talk shows and in public of late, return to the type of performance that is sweet, sensitive and thoroughly endearing is rewarding enough. But he is surrounded by thoughtful, passionate performers who all seemed so moved by Milk's legacy, they were determined to do him justice.

    Milk arrives in San Fran at the start of the swingin' 70s, frustrated and ready to start his life anew as he approaches his 40th birthday.

    It is there he bumps into his partner Scott Smith (played by James Franco), and they embark on their journey from small camera shop owners to activist organizers helping to reshape the cultural landscape of California.

    Where 'Milk' separates itself from other gay-themed mainstream films is that it presents its characters as peers. Films like 'Brokeback Mountain' and 'Jeffrey' were more about allowing the lifestyle to exist in its own little vacuum, if not truly accepting these individuals as equals in every sense of the word.

    It's the difference between accpeting a gay person and accepting a person who happens to be gay.

    Director Gus Van Sandt does this by presenting us with the leads' sexuality in the first few minutes of the film. Penn and Franco tango in an intimate encounter signifying the same electricity all relationships share in the first stage.

    Soon after, it settles into the same banality and common day-to-day exchanges all couples shift into, except theirs is one that faces constant tumult outside their own happy domicile - fear, anger and hate await them at every public demonstration of their affection toward one another.

    It's as if to say to skeptical, straight audience members, "see, this lifestyle you so fear can be just as mundane as yours, but contains no less love within it."

    I, personally respected 'Brokeback' as a political statement more than a film. I felt it was oftentimes dramatically inert, but I admired what it set out to accomplish.

    With 'Milk' and its engaging cast of underdogs, there's little downtime; in fact, there's always an underlying sense of urgency as they confront their fair share of injustices that meet their everyday existence, from indifferent police to angered citizens to downright spiteful politicians.

    Josh Brolin continues his streak (starting with Planet Terror and leading to last month's W.) as the tortured fellow politician Dan White, who admires Milk's appeal as much as he despises his orientation. He is one of the film's few flaws, as descends into his own hell, we wish we were afforded mere glimpses into his life.

    The other weak link is Milk's partner Jack Lira (played by Diego Luna) following a breakup with Scott. We understand he's a mess, but it remains unclear as to why Milk stays with this obvious basket case after repeated signs of an impending ugly meltdown.

    Van Sandt seamlessly blends archival news footage of the era with his own , drained of just enough color to feel era-specific. This comes in handy when he includes clips of the self-righteous Anita Bryant sermonizing about Milk's deviant behavior.

    Bryant looms heavily like a fog of hate and intolerance, donned in a frilly blouse and sensible pumps, and no actress is needed to shed further light on her moralistic monologues. Her damnation of gays over Proposition 6 ( which would allow the firing of teachers over sexual orientation ) is icily scary.

    What was equally surprising was the film's minimalist, sweeping score by Danny Elfman, which enhances the picture without once intruding and making it seem melodramatic.

    'Milk' does feel as though it sometimes smooths over the politician's rougher edges, yet it never feels less than authentic, courtesy of Penn's embrace of his character.

    The only shame of 'Milk' is that its release is a few weeks too late to perhaps influence a recent stripping of civil rights. It would have made 'Milk's' ending more stirring and just.

    Now, it's just heartbreakingly sad.


  • Actions speak louder than words in 'Frost/Nixon'

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    Backdraft  (1991)

    JFK  (1991)

    Apollo 13  (1995)

    Cast Away  (2000)

    Frost/Nixon  (2008)

    There's a sad irony to Frost/Nixon as it parallels today's political landscape: A wartime president with incredibly low approval ratings, belligerently refusing to admit any fault in a conflict costing countless lives.

    What's perhaps equally tragic is this sort of naked, no-holds-barred exchange, ratings-be-damned type of mainstream television, will most likely never happen in our lifetime; as we are already being treated to a "re-writing" of our sitting president's history by a cadre of his operatives.As both Frost (played by Michael Sheen) and Nixon (played ny Frank Langella) get top billing, there is a third headliner of the film and that is the role of the ol’ boob tube itself.

    Not only are those days of televised journalism over, but the film demonstrated just how valuable it was politically. From Nixon's admission to his sweaty upper lip costing him a debate, to Frost's entire interview being all-but obsolete after no major network agrees to air it, Frost/Nixon demonstrated just how integral the tube had become in the American political landscape.

    There is a workman-like structure to the film, which follows the waning days of both its leads careers - Frost, once an international talk show sensation, now resorting to stories on magicians in his British homeland, and Nixon, resigning his post in a web of paranoia-fueled corruption.

    In a desperate move for legitimacy, Frost attempts to nab Nixon for a four-part interview, but soon realized how deep he's in it after the tv studios reject it and Nixon proves to be much more cunning and savvy a subject than his hangdog expression appears.

    If possible, Langella should be nominated for his body language over his vocal delivery, which is more mockery than manifestation. While his harumphing and bluster can distract, the small, subtle shifts and physical tics are what makes him so imminently watchable.In his performance, we get more out of his long, uncomfortable stretches of silence, body adjustments and far-off inner reflection than we do from his line readings.

    The dialogue, based on the award-winning Broadway production from Peter Morgan, does have its crackling moments , such as Nixon effortlessly burrowing under Frost's skin mere moments before they "go live" in order to knock him off balance.

    (As a personal aside, those scenes reminded me of my own unnerving dalliances as a guest on live broadcast TV. On a local news program,  I nervously tried to memorize all my responses, focusing on being calm, cool, relaxed and witty . This was made increasingly more difficult as the camera rolled threateningly closer to my face and its operator started the countdown: "and in five!...four! ... three!... *Remember, Rob, don't look directly into the camera*...two!...one! ...")

    I think there are deer out there that did a better job not looking into headlights than I.

    As David Frost, Sheen recalls the stiff, slightly befuddled Tony Blair he provided for The Queen. You can sense his desperation that, being a public TV personality he's not allowed to leak in the public eye.

    Director Ron Howard is such an unobtrusive director, he's the perfect choice to helm a feature based on a stage play, where every move matters. He does not waste time with artistic flourishes, but punches it with just enough theatricality to make it appealing to large audiences.

    Like JFK Howard understands the importance of a shiny supporting cast : think Ed Harris in Apollo 13, Robert DeNiro in Backdraft and Wilson in Cast Away.Here, Sam Rockwell, Oliver Platt, Kevin Bacon and Toby Jones all provide what is required from roles such as theirs, pithy, scene-grabbing deliveries within their respective minutes on screen.

    I know Frost / Nixon is being floated as Oscar bait, and while both leads are worthy of some acknowledgement, I can't bring myself to wholly support this as a serious contender to the already strong list of potential candidates already making the rounds.

    It's perhaped a bit too polished for one of the most tarnishined times in our nation's presidential history.


  • DVD gifts off the beaten path

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    Folks in the current economy just haven’t warmed to the whole Blu-ray concept just yet. So while they are still commercially viable (even though they are waning in popularity), there are still a number of special edition DVDs funneling into the market. As the holiday approaches, it can be confusing for consumers as they toggle between choosing the “Special Dynamic Super Edition” or the “Ultimate Collectors Shiny Happy Edition” of the same films that have been released, re-released, and re-re-released.

    I am not going to include the latest films that have perhaps just been released this year in theaters and are receiving their big DVD debuts, but rather the digital roads less traveled, providing a range of options for all to fit every price range for DVD films and box sets released in 2008.

    As you are striking off names of cinephiles from your holiday gift list, consider some of the following options:

    For the kids/family: All kids will clamor for the Wall *E and Horton Hears a Who, but do you want your child to be a follower or a leader? Here’s some healthy alternatives:

    .The Woody Woodpecker and Friends Classic Cartoon Collection, Vol 2 Woody was sort of like the Rodney Dangerfield of cartoon characters for me and my friends growing up. The ubiquitous bird was really just animated padding as we awaited what we perceived to be better cartoons that would come on when we returned home from school. He was the television equivalent to Ziggy. And while there are several valleys in this three-disc collection of shorts produced between 1952 and 1958, there are countless peaks, including Niagara Fools, which could quite possibly be the best of his entire run on the tube. (About $35 at Amazon.com).

    Classic Caballeros Collection: (The Three Caballeros/ Saludos Amigos): Walt Disney, cash strapped after spiraling budgets of Pinocchio and Fantasia threatened to bankrupt the company, found himself traveling to Central and South America in search of distributing his product and cashing in to new markets. The results are these two (and a few other) shorts that are bouncy enough to satiate the kids in the house (with staples like Donald Duck and Goofy) , but filled with enough behind-the-scenes travelogues to keep the parents entertained long after the tots head off for bed. It’s a time capsule that shows the first footsteps taken in Disney’s now-global stranglehold on all things relating to childhood. (About $15)

    American Slapstick 2: In this three-disc compilation of shorts, 30 silent-era films are featured, demonstrating the breadth and depths of this oft-chided comic institution whose public recognition of it usually focuses solely on some guy named Chaplin. Harold Lloyd, then-unknown Oliver Hardy, Bebe Daniels, Snub Pollard all share screen time with even lesser-known pioneers. The popularity of the one-half silent slapstick of this year’s Wall*E will perhaps encourage viewers to uncover these long-forgotten pearls. (About $35)

    The Red Balloon: A lonely Parisian boy befriends a helium-filled titular object that seems to have a mind of its own in this 1956 film that is still as enchanting today and Janus Films has done an impeccable job in its cleanup of the print. The result in a simple, sweet , funny and even moving tale (the balloon’s flirtatious dance with a blue balloon is priceless) that would still be as meaningful for children today as those in post-war France, when it was made. (About $10)

    Big beefy sets: For those who still have job security and can perhaps shell out a few extra dollars, here are some options that are actually worth the money:

    The Godfather (Coppola Restoration Giftset): Yes, Coppola and company have returned to this well many a time on DVD, but if even if you have one of the former incarnations, you may want to start using them as coasters, as this is by far the best-looking version of the films you are likely to find. For those film geeks who appreciate the film for its nuances like the chiaroscuro lighting, era-perfect costuming and flawless framing, this is one sweet canoli. (About $45 for the whole set, though films can be purchased separately to avoid that whole Godfather III mistake)

    The Pink Panther Ultimate Collection: So the series bats about 500, mostly during Peter Sellers’ earliest work as the inept Inspector Clouseau (but this set also includes interpretations of the bumbling detective by Alan Arkin, Roger Moore (in 1983’s Curse of the Pink Panther), Roberto Benigni and, sadly, Steve Martin in the current re-boot of the franchise. But, the shoddy latter film entries are completely forgiven by this box set’s inclusion of all 190 far-superior Pink Panther cartoons. (About $180, but you are getting a total of 18 discs with this)

    Mystery Science Theater 3000: 20th Anniversary Edition : Unfortunately, it is true: two decades have passed since this fantastic series first aired, meaning you are that much older. Fortunately, the series contains so many laughs you may forget about all how much hair you’ve lost/wrinkles you’ve gained in that time. Films held up for merry mockery include: First Spaceship to Venus (1960), Laserblast (1979), Werewolf (1983) and Future War (1997). In the past, many MST3K discs have been rather sparse on extras, but this set comes loaded with features, including the show’s history, a reunion Q & A, and countless different versions of the theme song. (About $160, but you get a life-size head of Crow T. Robot, people!)

    The Complete Monty Python's Flying Circus - Collector's Edition Megaset: To know it is to love it: Flying Circus and its co-conspiratorial crew calling itself Monty Python have been purveyors of all modern silliness for more than three decades, leaving many sketch-comedy contenders in their wake. Take a look at any “comedy” channel on the internet today and you will no doubt see the influence of these ground-breaking masters of mockery. (About $55)

    The Budd Boetticher Box Set: What, you’ve never heard of Budd Boetticher? Does the fact that Marin Scorcese, Clint Eastwood and Taylor Hackford all volunteered to introduce films included in this set persuade you at all? The Tall T, Decision at Sundown, Buchanan Rides Alone, Ride Lonesome (1959) and Comanche Station, are but a few contributions to the Western genre from the director, giving James Coburn (in his film debut), Richard Boone, Maureen O'Sullivan, Pernell Roberts, Lee Van Cleef, and Craig Stevens and place to hang their hats, so to speak. (About $45)

    The Bette Davis Collection, Vol. 3 : Made during the grand dame’s peak of popularity (the non-campy kind) while working with Warner Brothers, this collection includes seldom-seen-but-worthwhile classics as The Old Maid (1939), All This and Heaven Too (1940), The Great Lie (1942), In This Our Life (1942), Watch the Rhine (1943) and Deception (1946). Also tossed into the six-disc set are commentary tracks from film scholars, era-specific film trailers, behind-the-scenes footage, and vintage cartoons. (About $47)

    The Alfred Hitchcock Premiere Collection: Spanning eight discs, this MGM set highlights some of the more obscure, but no-less interesting, works from the master, including The Lodger (1927), one of his silent pictures, Sabotage (1936), the Oscar-winning Rebecca (1940), Lifeboat (1944) a mini-masterwork that is set entirely on an inflatable raft and still manages to build tension, Spellbound (1945) , Notorious (1946) and The Paradine Case (1946), starring Ingrid Bergman and Gregory Peck. Included are the famous Hitchock Francois Truffaut interviews, trailers, radio adaptations, and other nuggets of cinema goodness. (About $60)

    Georges Méliès: First Wizard of Cinema (1896-1913): Melies’s sad ending was criminal compared to his contribution to the world of film (he died penniless and all-but-forgotten), and this posthumous compilation only further proves just how influential this man was. Some of the ways the effects are done today have changed, but the more things change… A total of 173 short films from this movie master are included in this box set, filled with fantastic journeys, interplanetary travel, and fairy tale lands. The set also includes a booklet documenting his life in and out of film, as well as a famous short documentary on him from another French legend, Georges Franju. (About $90)

    A really, very, super-special, ultimate collector’s edition: Almost every film today is released in rated and “unrated” director’s cuts. But few of them have any negligible differences. Here are a few that merit a purchase:

    The Adventures of Baron Munchausen (20th Anniversary Edition): Visionary director Terry Gilliam has seldom had smooth sailing from sets to screen (the legendary aborted Johnny Depp project, The Man Who Killed Don Quixote, made for a fascinating documentary of the filmmaking process titled Lost in La Mancha), and this 1988 film is no exception. Budgets and schedules spinning out of control led to one of the more intriguing behind-the-scenes lore of film production, which is recounted rather honestly and thoroughly through its cast and crew in this special edition DVD. For those who have never witnessed this hallucinatory fantasy since it was first released, a repeat viewing after following how it was made is required to gain an entirely new respect for it. (About $20)

    The Thief of Bagdad (Criterion Collection): If you or your children’s only exposure to bottled genies and flying carpets are limited to either Disney and/or Barbara Eden, you owe it to yourself and your kids to pick up this restored gem that featured at-the-time groundbreaking effects (that even today, while dated, still impress), a thrilling adventure and now packed with bonus material such as the original trailer, several commentaries (including a couple of hacks by the name of Scorsese and Coppola), documentaries on Ray Harryhausen, Dennis Muren and Craig Barron and various other features. (About $25)

    Dark City (Director’s Cut): Hot off the success of The Crow, in the early 90s, director Alex Proyas was given a bigger budget to create an even larger alternate universe, not unlike the ones created in Blade Runner. And it was perhaps a little too close, as the film was initially met with a shrug from many critics (except Roger Ebert) and quickly disappeared. It has developed a sizeable cult following, allowing a DVD rebirth in the form of a director’s cut, inviting newbies and former haters alike to view the film as originally intended. (About $12)

    Ladies and Gentlemen, The Fabulous Stains!: Here’s another film that a backstory almost as interesting as the one on the screen. Disowned by its writer, dropped by its studio and abandoned by home video, this rarity stars a young Diane Lane, Ray Winstone, and Laura Dern (as well as members from The Clash and The Sex Pistols). After making the rounds of HBO and late-night USA Network back in the day (late 80s), the film vanished into obscurity. Rhino has lovingly picked it up and polished it off with a number of features, including audio commentaries (from Lane and Dern, no less!). (About $15)

    The General: The Ultimate Two-Disc Edition: No self-respecting lover of film should be without this one in their collection. Be wary, as since this classic has gone into public domain (meaning almost any rag-tag releasing company can distribute a beat-up print for profit), this comedic classic from Buster Keaton has countless versions clotting bargain bins everywhere. Kino, which has already released a fine dust-off of the film years ago, now present a definitive version, including introductions from Gloria Swanson and Orson Welles, a tour of the filming locations (including the train used in the film) and a choice of musical accompaniments for this silent masterpiece of meticulously calculated mayhem. (About $22)


 

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