35 years after the original Blade Runner changed the landscape of big screen science fiction, Blade Runner 2049 (2017) dared build on the dystopian portrait of the ecologically devastated urban imaged on screen by director Ridley Scott and his team of designers and artists. Just as in the original, this film is as much about the texture of the world on screen as it is the story of the Replicants (artificially manufactured humans created as slave labor) decades after Deckard first strolled the mean streets of L.A.
Ryan Gosling is K, the Blade Runner of this story, a next generation Replicant whose job it is to “retire” the last of the old models, the ones created with a more flexible will that led to rebellion. His new assignment unearths artifacts that leads directly back to the story of Deckard (Harrison Ford) and Rachel (Sean Young) and the legend of a Replicant child, a messiah myth for the Replicant underclass not unlike the Christian virgin birth: the first non-virgin birth of a race genetically designed in a lab. It’s a story that Niander Wallace (Jared Leto), the techno-industrialist who took over the collapsed Tyrell Corporation, will do anything to bury and he sends his own Replicant enforcer, Luv (Dutch actress Sylvia Hoeks), to eradicate the evidence.
This is science fiction spectacle and futuristic detective story as art movie tone poem, a conspiracy thriller with flying cars, blaster handguns, and big brawling fights that defies the breathless pace of the action genre.
Fritz Lang: The Silent Films (Kino Classics, Blu-ray)
Fritz Lang was a towering giant of silent cinema, legendary for his ambitious, epic scope and the imagination and grandeur of his visual storytelling. Kino has been releasing glorious new editions of his silent films as restored by The Murnau Institute in Germany for years: eleven silent features in the last decade, including the landmark restoration of Metropolis. Fritz Lang: The Silent Filmscollects them all, with the respective Blu-ray debuts of three early films previously only on DVD and the home video debut of an early film written by Lang. In all, 12 silent features on 12 discs: an instant collection of one of the most important–and most entertaining–filmmakers of the 1920s.
Making its disc debut in the set is The Plague of Florence (1919), directed by Otto Rippert from Lang’s original screenplay loosely based on Edgar Allan Poe’s story “The Masque of the Red Death.” This is on DVD only and not available separately at this time.
Harakiri (1919), Lang’s adaptation of “Madame Butterfly,” features German star Lil Dagover as the Japanese geisha married then abandoned by (in this version) an American naval officer. Lang is still learning to tell a visual story and he hasn’t mastered the art of directing actors but it sure looks impressive. It’s one of the three films making their respective Blu-ray debuts in this set, along with The Wandering Shadow (1920), his first collaboration with screenwriter Thea von Harbou, who became his longtime collaborator and, later, his wife (until Lang fled Germany and von Harbou joined the Nazi party), and Four Around the Woman (1921). The latter, a complicated thriller of intrigue, crime, suspicion, and mistaken identity, looks forward to his popular spy and crime thrillers and is mastered from the only known available print, which is incomplete and damaged. It features a lively score by a small combo.
No supplements with these films.
The rest of the set collects the superb Blu-ray editions previously released in separate editions.
Letter from an Unknown Woman (Olive Signature, Blu-ray) (1948), the second Hollywood film by European émigré Max Ophüls (who was credited as Opuls on his American movies), is his first American masterpiece, an exquisitely stylish romantic melodrama (based on a novel by Stefan Zweig) informed by his continental sensibility.
“By the time you read this letter, I may be dead,” reads aging bon vivant Louis Jordan from a letter found in his tiny hotel room. Hair tousled and tux tired from yet another night of meaningless flirtation, he’s startled by these opening lines and suspends his preparations to flee a duel to read the history of a love affair that he can’t remember. For the rest of the film we’re transported to the life of Joan Fontaine’s awkward young Viennese woman, hopelessly enthralled by the dashing pianist from adolescence and momentarily his lover, the emotional pinnacle of her life but for the philandering rogue simply another fling in a blur of women passing through his bedroom.
Alfred Hitchcock: The Ultimate Collection (Universal Pictures Home Entertainment, Blu-ray) – The box set of 15 Alfred Hitchcock pictures made between 1942 and 1976 (featuring films from Paramount, Warner Bros, and MGM as well as Universal Studios) expands on the 2012 Blu-ray box set Alfred Hitchcock: The Masterpiece Collection with two bonus DVDs highlighting Hitchcock’s work on the small screen.
They’re not all masterpieces but they are all from the Master of Suspense so they all have their merits, and the discs are packed with supplements. Each disc includes a gallery of stills, a trailer, and a featurette written, produced and directed by specialist Laurent Bouzereau for the original DVD special edition releases of the films. Each runs between 30 and 45 minutes. Bouzereau constructs detailed stories of the creation and production of the films with the help of surviving artists and actors, and adds just a little interpretive insight. The later films, not surprisingly, feature more first person remembrances and run a little longer. Some discs include more supplements. Note that these are the exact same Blu-ray masters from the 2012 set, which means that the same issues are present in the five problematic discs. More on those later. Here’s the line-up, with notes on some select supplements.
Saboteur (1942) – Robert Cummings is Hitch’s classic wrong man on the run in this rollercoaster romantic thriller, a coast-to-coast chase to find the wartime saboteur who has framed our hero. Climaxes with the memorable scramble over the Statue of Liberty, but the circus wagon scene and the charity ball full of spies are great scenes in their own right. Think of this as one of his “slices of cake.”
Two silent movie classics come to Blu-ray in new, restored editions.
The Lost World (Flicker Alley, Blu-ray) The Last Laugh (Kino Classics, Blu-ray, DVD)
Every larger than life creature feature, from King Kong to Godzilla to Jurassic Park owes a debt to the original The Lost World (1925), the granddaddy of giant monster movies. Based on an adventure fantasy by Arthur Conan Doyle, it’s the story of a maverick scientist and explorer, Professor Challenger (Wallace Beery under a bushy beard), who reports on a land that time forgot on a plateau deep within the South American jungles. When what passes for the National Geographic society jeers his presentation, which is delivered with no evidence, gentleman adventurer and big game hunter Sir John Roxton (Lewis Stone) proposes a new expedition and volunteers to go along. The team is filled out with a somewhat elderly scientist (Arthur Hoyt), a reporter (Lloyd Hughes) representing the paper financing the trip, and the lovely Paula White (Bessie Love), whose father disappeared in that plateau on a previous trip.
After the 1970s recast film noir in shades of nostalgia (Chinatown, 1974, The Late Show, 1977) and private eye revisionism and cynicism (The Long Goodbye, 1973, Night Moves, 1975), the eighties gave it a burst of color and energy with Neon Noir. John Landis’s Into the Night (1985) doesn’t have the self-consciously chiaroscuro lighting we associate with noir (Landis uses light for clarity, not atmosphere) but otherwise he takes a classic noir story—the middle-class innocent jolted out of his protected but dull existence and plunged into a nightmarish odyssey into the urban underworld—and treats it right. It was a commercial disappointment in its day and tends to be forgotten in the annals of post-noir crime cinema but if anything it looks better today than it did in eighties.
Jeff Goldblum is our married suburban everyman Ed Okin, an aerospace engineer whose dreams of space have been grounded in cubicle land, sleepwalking through his days and unable to sleep at night. “My life is a dead-end,” he tells his carpool coworker (Dan Aykroyd), “I feel like I’m from another planet,” and things don’t improve when he finds his wife having an affair (but slinks away rather than confront her). This isn’t a man bored by his compromises to conformity, but a man unsure why he is so unfulfilled after doing everything right.
James Whale followed up his iconic horror classic Frankenstein (1931) with the strange, sly, and sardonic The Old Dark House (1932), part haunted house terror and part spoof executed with baroque style.
Boris Karloff (fresh from his star-making turn in Frankenstein) takes top billing in the supporting role of Morgan, the scarred, mute butler with a penchant for drink and a vicious mean streak, but the film is really an ensemble piece. Melvin Douglas is the wisecracking romantic lead caught in a raging thunderstorm in the Welsh mountains with bickering couple and traveling companions Raymond Massey and Gloria Stuart. They take refuge in the creepy old manor of the title, lorded over by the gloriously flamboyant Ernest Thesiger and his dotty, fanatical sister Eva Moore, when a landslide wipes out the goat-trail of a mountain road, and are later joined by more stranded passengers: a hearty Charles Laughton, whose Lancashire working class accent and blunt manners sets him apart from the social graces of his companions, and his “friend” Lillian Bond, a chorus girl with a chirpy sunniness in the gloomy situation.
The title may sound like a serial killer thriller but Mario Bava’s Kill, Baby… Kill (Italy, 1966) is a Gothic ghost story with haunting images, grotesque edges, and glorious style. Think of it as Bava’s answer to a Hammer horror, with hysterical superstition and suspicion of outsiders replacing the lurid sexuality of Hammer’s Victorian horrors and Bava’s rich palette setting an altogether more expressionist atmosphere.
Shooting exteriors on location in rural mountain villages of picture-postcard medieval stone dwellings and labyrinthine streets, Bava creates a fairy tale world of an oppressively provincial 19th century village in the grip of a curse. At least that’s the explanation of the townspeople who dismiss the scientific investigation of Dr. Paul Eswai (Giacomo Rossi Stuart), a coroner from the city called into determine if Irena (Mirella Pamphili), a young woman whose death by impaling opens the film, was murdered or committed suicide. The villagers know—she is the latest victim of a curse upon the village—and do everything they can to drive the coroner and Inspector Kruger (Piero Lulli), the city investigator, from their insular little village. With the help of Monica (Erika Blanc), who was born in the village but sent away to school and has recently returned, Paul is determined to find the true cause of the inexplicable deaths plaguing the village.
Spider-Man: Homecoming (2017) is the second reboot of the first superstar of the 21st century superhero boom since Sam Raimi’s hit trilogy and this time Sony (who still owns the movie rights) has handed the creative reins over to Marvel Studios and allowed them to integrate the webslinger into the Marvel Comics Movie Universe.
Tom Holland actually made his big screen debut as Spider-Man, once again a hapless high school kid just like in the original comics, in Captain American: Civil War, recruited by Tony Stark to be his secret weapon against Captain America’s rebel heroes. After holding his own in his big league try-out, Holland carries Spider-Man: Homecoming with the youthful spirit of a high school brainiac nerd with the fresh charge of superpowers he’s still mastering, the unseasoned hero eager to impress reluctant mentor Iron Man (Robert Downey Jr.) and make the leap from the streets of Queens to the big leagues of The Avengers.
This film wisely dispenses with the whole origin story and reintroduces us to the rookie wall crawler by revisiting his Civil War coming out party from the excited kid’s point-of-view via Parker’s camera-phone. It’s a perfect entry into this variation on the Marvel house style, capturing not just the charge but the culture of social engagement of a high school kid, a YouTube take on superhero spectacle in the first person.
An early sound film shot with a distinctive and evocative silent film aesthetic, Vampyr (Denmark, 1932) is a horror movie as tone poem. Dialogue is sparse and large blocks of text (either intertitles or pages from a book of vampire lore) provide the exposition. It’s an eerily abstract film of vague motivations and ethereal imagery (exaggerated by the worn state of the source prints) from the opening scenes.
Our hero, Allan Gray (Julian West), is a vaguely interested in the supernatural, according the titles, but he walks into this cursed village like a dazed innocent whose walking tour (or perhaps butterfly hunt? he’s hoisting a large net over his shoulder) of the familiar countryside takes him into unfamiliar terrain, a cursed village that is, for all intents and purposes, isolated from the world. A villager with a scythe rings a bell on a misty lake as he arrives, already conjuring a feeling of death and portents of supernatural things to come.
Jean Grémillon was one of the great French film directors of the golden age with a career that spanned from the end of the silent era through the late 1950s, but is one of the least known to American audiences and very few of his films are available in the U.S. (in fact, the only previous releases I’m aware of are three films on the Eclipse set Jean Gremillon During the Occupation). The Love of a Woman (France, 1953), his final feature, confronts a modern theme in the rural, conservative culture of an island community of sailors off the coast of France.
Micheline Presle is the new community doctor, a single, relatively young woman who must prove herself to a population suspicious of outsiders and a culture steeped in chauvinism. Massimo Girotti is an Italian engineer working on the island who challenges the provincial attitudes as he romances the doctor, but too is trapped in traditional views of marriage and forces her to choose: love or career. It takes on themes that were also being grappled with in American cinema after the war with a sympathetic portrait of women professionals in a culture that constantly challenges them to prove themselves and demands they sacrifice career for marriage. The choice is put into focus when the retiring schoolteacher, the doctor’s only real friend on the island, contemplates retirement as a spinster.
Part of the fun of the 21st century superhero shows is the effort put into worldbuilding. Not just the cast of characters but the entire ecosystem of the city, the attitudes towards heroes and villains from the civilians, and histories that hold sway over
The fun of the CW superhero shows—Arrow, The Flash, DC’s Legends of Tomorrow, and (as of season two) Supergirl—is the way they’ve worked them into the same universe (or at least connected universes, in the case of Supergirl). You could say the same of the Marvel shows on Netflix, which exist in a tight, decidedly earthbound and mortal world confined almost entirely to New York City. They have a focus, more like a series of graphic novels in a shared universe, and their all-at-once release pattern emphasizes that unity. The CW shows, for better or worse, are more like monthly comic books, with stand-alone episodes like individual issues as well as ongoing story arcs and crossovers with sister series. They are looser, with more digressions, which can also mean more opportunities to play with the possibilities. And because they all roll out concurrently, they offer a possibility right out of the comic book world: stories crossing over from one series to another. This season offered a story that brought all four shows together.
The 2016-2107 seasons of all four shows are now available on DVD and Blu-ray (they were staggered over the past couple of weeks). One note that is applicable to all four shows: these set do not feature the episodes from the sister shows of the crossover stories so you’ll need all four sets to see the full story (though to be fair the Supergirl episodes offer little more than a few minutes of set-up for their portions of the stories). What each set does include is a featurette on the big crossover event (each one focused on the show’s POV).
The Flash: The Complete Third Season(Warner) of the most family friendly of the prime-time superhero show on TV opens with Barry Allen / The Flash (Grant Gustin) facing repercussions from his decision to save his mother’s life by changing history and his attempts to repair the results in a world bearing the scars of his actions. his girlfriend Iris (Candice Patton) is no longer speaking to her father Joe (Jesse L. Martin), Cisco (Carlos Valdes) holds a grudge against him, he’s working with a senior forensics scientist, Julian (Tom Felton, of the Harry Potter movies), who dislikes him, and he’s hunted by a new villain named Savitar. Meanwhile, Joe’s son Wally (Keiynan Lonsdale) develops speed powers and is mentored by Barry to become Kid Flash, and Caitlin (Danielle Panabaker) struggles against the villainous Killer Frost taking over her identity. You know, comic book melodrama.