Category: DVD

Jun 25 2015

Videophiled: Neil Marshall’s ‘Dog Soldiers: Collector’s Edition’

Dog Soldiers

Scream Factory

Dog Soldiers: Collector’s Edition (Scream Factory, Blu-ray+DVD) – “If we engage the enemy, I expect nothing less than gratuitous violence from the lot of you.” Neil Marshall ransacks and revitalizes every cliché in the book in this howling good reworking of the werewolf tale.

Borrowing liberally from the “survivors under siege” classics Aliens and Night of the Living Dead, Marshall drops his full moon boogie in the deep misty forests of the Scottish Highlands, pits platoon versus wolf pack, and watches the fur fly. Sean Pertwee and Kevin McKidd are the career soldiers on a weekend war game turned into a primal bloodbath, Emma Cleasby the backwoods naturalist who knows more than she’s saying, and Liam Cunningham the ruthless Special Forces officer with a conspiratorial streak. “There was only supposed to be one…” Cunningham moans when his troops find him at the otherwise deserted base camp, wounded and dazed and surrounded by spots of blood and bits of human organs. Their retreat is only marginally more successful and before you can say “Lucky you came along on this lonely dirt road in the nick of time,” they hitch a ride and hole up in the only house for miles around.

Where so many horror movies coast on such coincidences, Marshall works them into the conspiratorial premise of the piece and dangles clues for observant viewers between the blasts of black humor (Wells’ tug of war with a playful dog over the intestines spilling out of his gut), bloody horror, and action heroics. His muscular attack and display of men-under-fire sacrifice is reminiscent of James Cameron, while the shards of cold illumination that backlight the swirling fog, catch the faces of combatants, and silhouette the towering beasts (apparently the full moon had some help) recall Ridley Scott. Give credit to Marshall for borrowing from the best. Dog Soldiers doesn’t transcend genre, it embraces it, energizes it, and takes big bloody chomp out of it.

Director Neil Marshall posted a note about the restoration on the Scream Factory Facebook page, noting that the original negative is apparently lost and the disc was mastered from existing prints. “Like it or not, when the movie was originally released in the UK in 2002, the blacks were crushed, the contrast was high, the colours were rich and the image was grainy as fuck, because let’s not forget, this movie was shot on 16mm and blown up to 35mm.” So yes, this is grainy and doesn’t have the detail or clarity of master harvested from the original negative, but it’s a fine edition that the director stands behind.

This edition features both Blu-ray and DVD copies with new supplements, including commentary by Neil Marshall, the hour-long documentary “Werewolves vs. Soldiers: The Making of Dog Soldiers” with new interviews with Marshall, many of his collaborators, and the film’s stars, and a 13-minute featurette on the production design, plus Marshall’s 1999 short film Combat and a couple of photo galleries. The cover features reversible art.

More new releases on disc and digital formats at Cinephiled

Jun 23 2015

Blu-ray / DVD: ‘The Bridge’ – Germany confronts the legacy of World War II

Criterion

The Bridge (1959) (Criterion, Blu-ray, DVD) is a landmark film of post-war German cinema. Filmmakers (and perhaps audiences as well) were reluctant to confront World War II and its legacy in the years after the surrender to the Allies. Bernhard Wicki’s 1959 film, adapted from the semi-autobiographical novel by Manfred Gregor (the pen name of journalist Gregor Dorfmeister), was the first major German film to take on the subject directly, and it did so with a searing portrait of young soldiers unprepared for the realities of war thanks to the fantasies of Nazi propaganda.

Set in a rural German town in 1945, in the final days of the war as the Allies were converging on Berlin, it follows the story of seven high school boys who still believe in the German propaganda of duty and sacrifice to the Fatherland. They can’t wait until they are called up and they get their wish and undergo a single day of basic training before the company is called to the front. The boys are Volkststurm, not regular army but a kind of Hitler Youth militia created in the last gasps of German defense, a Hail Mary pass that basically throws unprepared kids into the jaws of war. Utterly unprepared for battle, their commander orders them to “guard” a bridge that is slated to be blown up in the German retreat. It’s an assignment meant to keep them out of combat but they turn into patriotic zealots guided by the “wisdom” gleaned from propaganda films and rousing speeches and dismissive of the experience of veterans who attempt to offer advice.

The Bridge doesn’t debate politics or acknowledge the Holocaust and other crimes against humanity, and that works for this story. While there is no literal condemnation of the Nazis, it’s a bankrupt ideology as far as the citizens are concerned and the sole representative of the party is an opportunist and hypocrite preparing to flee with his mistress and his loot. There are no true believers in the exhausted soldiers retreating from the Allied advancement, merely survivors hoping to survive a little longer.

Director Bernhard Wicki is more interested in the cultural climate of Germany in the final days of the war as seen from the isolated bubble of a Bavarian town where the only men left too old, too young, or medically unfit for combat. The women run the shops and farms and the adults are resigned to Germany’s defeat as the bombs drop ever closer to the city and word of the Allied advance is met with a shrug. There’s no love left for Hitler and an impotent hopelessness hangs over the adult survivors but the teenage boys are still in thrall to the fantasy of German supremacy of Nazi propaganda and believe they can turn the war around and save their country. That makes them arrogant, convinced that their idealism is truer than the experience of the women holding families together, old men who survived World War I, even veteran soldiers with a realistic perspective on the state of the war.

The boys of ‘The Bridge’

None of the kids are particularly distinctive—it’s an ensemble piece and they are have their place in it—but neither are they merely simple types. The chapter leader (Hitler Youth is not actually mentioned but that’s surely what he leads) is a little bullying but never really a bully, the barber’s son is in love with an older woman but is paralyzed by shyness until he throws a tantrum when he finds her with someone else, the son of the Nazi Party politico is disgusted by his father’s hypocrisy and cowardice, and so on. The pecking order of their little society remains as they try to organize themselves on the bridge and slip into playing soldier instead of being soldiers, but the arrival of the first tank shocks them out of their fantasies.

This is a miniature, a portrait of 1945 Germany in microcosm, and Wicki eases us into the horror of combat by first focusing on quiet village life, where the boys are relatively protected from the reality of battle. Even the falling bombs are more of a curiosity than a threat; they race to see how close the last one fell and if it left a crater. They are all bluster and immature impulsiveness, ruled by hormonally-charged emotions and a distorted idea of national service. That’s fine for afterschool games but a bad combination with no military training and only fantasies of war glory as a model of military comportment. Left alone to face the Americans (the chaos of the German retreat ends up killing the sole veteran soldier left behind to watch over the boys), they are no better than kids playing war with live rounds and discovering that there isn’t any glory in dying for your country. Wicki captures a sense of panic and desperation as the boys do their best to act like soldiers in the face of overwhelming forces. It’s a war film in close up, a minor skirmish in the scheme of things over a bridge with no tactical value, and it makes their sacrifice utterly meaningless by any measure.

It also makes an interesting contrast to how East Germany confronted World War II. The communist government immediately produced anti-Nazi dramas that condemned the militarism of the country. The new East Germany, after all, was now part of the socialist ideal, a break with the corrupt values of the old Germany. Communist Germany acknowledged the crimes by distancing itself (the government if not the citizens) from complicity in the war. West Germany didn’t have any such façade of separation and it took years to work up to this kind of direct engagement. As a result, it had a great impact on the next generation of German filmmakers.

In German with English subtitles, on Blu-ray and DVD. The new 2K digital restoration is mastered from the original 35mm negative and a 35mm duplicate negative. It looks superb, a clean, sharp image with strong contrasts and no evident damage. It features a new 22-minute interview with Gregor Dorfmeister, who wrote the original autobiographical novel and discusses his real-life experience and the screen adaptation, and a ten-minute interview with filmmaker Volker Schlöndorff on the film’s impact in Germany, and an archival interview with director Bernhard Wicki discussing the film on a German TV talk show in 1989. Also includes a clip from the 2007 documentary Against the Grain: The Film Legend of Bernhard Wicki directed by Elisabeth Wicki-Endriss (the filmmaker’s widow) and a fold-out insert with an essay by film critic Terrence Rafferty.

Basic training

Jun 20 2015

Videophiled: ‘Killer Cop’

KillerCop

Raro Video

Given the title of Killer Cop (Raro / Kino Lorber, Blu-ray, DVD) a 1975 poliziotteschi from Italy, you might expect a rogue cop thriller, and ambitious young Commissario Matteo Rolandi (Claudio Cassinelli), a rising officer on a major drug case, certainly has good reason to go rogue. His case gets caught up in a major terrorist bombing and his best friend (Franco Fabrizi), a workaday veteran with a fidgety nature and a streak of bad luck, is murdered for stumbling across the prime suspect. He’s frustrated that he’s been bounced from the case by the Prosecutor General, a serious, stone-faced legend of dogged duty who has the unlikely nickname “Minty” (because he keeps popping breath mints while working a case) and is played by American star Arthur Kennedy (dubbed in Italian of course), so when his drug investigation winds back into the bombing he conducts his own investigation. It turns out the Prosecutor has his reasons for keeping the case close to the vest: the police force, the justice department, the entire political system in Milan is riddled with corruption and he doesn’t know who he can trust.

The northern capital of Milan, the symbol of modernity and progress in the Italian cinema of the 50s and 60s, is the epitome of official corruption and the urban mob in the crime cinema of the 70s. The violence here, however, is no mob war or message from the criminal underworld. It’s not even a terrorist attack, at least not as defined by the traditional “war on terror” yardstick. It’s… well, I’m not really sure, but as the masterminds explain it, “It was only supposed to be a demonstration.” The best I can figure is that it’s a conspiracy rooted in a cabal of industrialists, government officials, and mobsters and it is designed to stir things up. Which pretty much vindicates the fears of both Rolandi and Minty, who keep tripping over each other with a frequency that makes them both suspicious.

Raro has been championing the poliziotteschi—brutal crime thriller and mob dramas from Italy in the 1970s—since its revelatory release of Fernando di Leo’s filmography. Killer Cop is a minor but interesting addition to the library, a low-key film that (unusual for the genre) focuses on honest cops trying to do their job in a culture of corruption and political intimidation. Italian audiences of the day would have recognized the event as a reference to a real-life bombing at Piazza Fontana, which was unsolved, and director Luciano Ercoli suggests a conspiracy that could have come out of the American cinema of the day, like The Parallax View. It’s short on exposition, which is as interesting as it is frustrating—the whole conspiracy remains shadowy and the complicity of the police and justice officials is unclear—but also gives the film an atmosphere of distrust of all official representatives. The bomber himself (Bruno Zanin) is a kind of sad-sack patsy, not even a true believer but a foot soldier getting his orders from phone calls and abandoned by his bosses when the case spins out of their control.

As far as I know, this is Ercoli’s only poliziotteschi but he brings an interesting attitude to the genre.

Blu-ray and DVD, with both Italian and English dub soundtracks (the Italian is preferable, as the English dubbing is sloppy and lazily performed) and optional English subtitles, plus a 20-minute interview with production manager Alessandro Calosci.

More cool and cult releases at Cinephiled

Jun 18 2015

Videophiled: ‘Wild Tales’ from Argentina

WildTales

Sony

Wild Tales (Sony, Blu-ray, DVD, Digital HD, VOD) delivers on the promise of its title. An anthology of six original short stories from writer / director Damián Szifrón, it is a blackly comic film of modern life churning with frustration, rage, vengeance, and other decidedly civilized impulses. It opens on pure perfection, a darkly hilarious pre-credits revenge vignette that turns on a single joke that is flawlessly teased out, revealed, and executed, right down to the final freeze frame. If the subsequent pieces aren’t as wickedly satisfying, it’s because they are more ambitious and involved: a demolition engineer in a losing battle with bureaucracy (and his own obsessiveness), a savage road rage war that turns poisonously vicious, a disturbing drama of rich privilege that becomes even more disturbing as the price for corruption gets continually renegotiated. It’s all about pushing past the borders of civilized behavior to unleash the primal instincts of the human beast’s worst impulses. Give Szifrón credit for coming out of it with a happy ending—or at least the closest one can come from the wreckage left in the wake of a bride scorned on her wedding day.

It’s easy to see why Pedro and Agustín Almodóvar signed on as producers. Szifrón’s style is more stripped away and his satire more cutting and vicious than the compassion of Almodóvar’s sexy melodramas and colorful personalities, and his direction homes in on dramatic collisions between his characters, bringing out the tensions and the escalation of conflict to reveal the petty cruelties and greed and suppressed anger of the modern world. But the sensibility is similar, as is the satirical perspective. Like Almodóvar, Szifrón is all about emotion over reason. He just doesn’t find much to celebrate about passions unleashed. He does, however, find a mordant humor in it all, and he has the wit to pull it off. It earned the film an Oscar nomination for Best Foreign Language Feature and an armful of awards in Argentina.

Blu-ray and DVD with the featurette “Wild Shooting: Creating the Film” and a Q&A with filmmaker Damián Szifrón at the Toronto International Film Festival screening. Also on Cable On Demand, Amazon Instant, Vudu, Xbox Video, and CinemaNow.

More new releases on disc and digital formats at Cinemaphiled

Jun 10 2015

Videophiled: Politics on ice in ‘Red Army’

Red Army

Sony

Red Army (Sony, Blu-ray, DVD, VOD) – Director Gabe Polsky, the Chicago-born son of Russian immigrants, dreamed of playing pro hockey and ended up making movies. This documentary, his directorial debut, finds the intersection of sports triumph, political gamesmanship, and personal sacrifice in the story of the powerhouse Soviet national hockey team of the eighties, when it won two Olympic gold medals and seven World Championships.

The story is built around interviews with Viacheslav “Slava” Fetisov, the former team captain, and Polsky begins the film with a scene of Fetisov more engaged with his cell phone than with the interviewer (“It’s business,” he explains) and flipping him the finger when Polsky keeps peppering him with questions. Clearly both Polsky and Fetisov have a sense of humor, which helps move us into the story through Fetisov and his teammates, which is not humorous at all. We learn about the rigorous training regimen that kept the men from their families 11 months out of the year, which drilled into them the distinctive playing style that confounded western teams. The players became national heroes, at least for time, but were essentially prisoners of their success. They were under constant pressure to win as a matter of national dignity and political pride.

The sports story is also our entry into a culture, and this hockey film provides no less than a sideways look into the way that communist USSR controlled its athletes—the Red Army Team players were indeed treated like soldiers whose field of battle was the ice rink—and the dramatic changes that occurred in both the political and social culture of the Soviet Union. From the Cold war climate of the eighties through the introduction of perestroika, the fall of the Soviet Union, and the rise of capitalism and a new kind of political power, the players were pawns in a global PR campaign.

Fetisov is a commanding personality in the film and his story is great true-life drama. In the late 1990s, when Fetisov and his former teammates from the eighties squad were in their mid- to late-thirties, five former Red Army stars were brought together on the Detroit Red Wings squad and, under Coach Scotty Bowman, recreated their unique Soviet style of play in the NHL for two Stanley Cup championships. It’s a happy ending for a turbulent life.

Blu-ray and DVD, with commentary by director Gabe Polsky and executive producer Werner Herzog and Q&A with Polsky from the Toronto International Film Festival screening. Exclusive to the Blu-ray are an extended interview with Coach Scotty Bowman (the winningest coach in NHL history), a Q&A with Polsky and former US Ambassador to Russia Michael McFaul, and deleted scenes. Also on Cable On Demand and VOD.

More new releases on disc and digital formats at Cinephiled

Jun 09 2015

Videophiled: Celebrating Orson Welles in ‘Magician’

Magician

Cohen

Magician: The Astonishing Life and Work of Orson Welles (Cohen, Blu-ray, DVD), directed by Chuck Workman and released to celebrate the centenary of the birth of Orson Welles, is not in the running for the definitive portrait of the artist. At a brisk, dense 90 minutes, however, it is an excellent introduction the life and work of the Welles with a focus on the creative.

Workman brings elegance and visual musicality to his work (such as the remembrance montages of the Academy Awards ceremonies) and a density to his documentaries, and this is no different. His nearly breathless editing pace sweeps us through a wealth of film clips (many of them rare) and new and archival interviews with the likes of biographer Simon Callow, critics James Naremore and Jonathan Rosenbaum, collaborators Norman Lloyd, Charlton Heston, John Houseman, and Jeanne Moreau, and daughters Christopher Welles and Beatrice Welles-Smith. And along with clips of his feature films, we get audio of his radio work, newsreel footage of the “Voodoo” Macbeth stage production, clips from the TV version of King Lear directed by Peter Brook, and scenes from unfinished films Don Quixote, The Deep, and The Merchant of Venice. Die-hard Welles aficionados will likely have seen some (if not all) of these, but to everyone else this is a glimpse into hidden treasures.

Magician-2

Orson Welles

Most importantly, Workman understands that Welles is not a “failed” director—too many ill-informed commentators (and some who should know better) still echo the cliché that Welles never returned to the artistic heights of his debut feature Citizen Kane—but a restless artist who never stopped exploring and engaging with cinema even when the industry turned its back in him. Workman clearly respects Welles and loves his work. At a mere 90 minutes, he can’t delve deeply into the contradictions and complications, but we do get snapshots and quick impressions, with plenty of clips of Welles himself talking about his work and career that give us insight to his personality as a person and an artist. He was a storyteller in all aspects of his life. And we get a glimpse of a career that is full of wonders, too many of them unavailable outside of special screenings and festivals—how frustrating is it to have Simon Callow proclaim Chimes at Midnight Welles’s masterpiece, only to be told it is unavailable because of tangled rights issues?—but all of them so intriguing that it may inspire new fans to seek out these rarities (hint: YouTube and import DVDs).

Features a video interview with director Chuck Workman conducted by film scholar and critic Annette Insdorff and a booklet with stills but no film notes.

More new releases on disc and digital formats at Cinephiled

May 27 2015

Videophiled: ‘Man, Pride and Vengeance’

ManPridevengeance

Blue Underground

Man, Pride and Vengeance (Blue Underground, Blu-ray, DVD, VOD) – There were hundreds of spaghetti westerns produced by Italian studios in the sixties and early seventies. Only a small percentage of them were particularly good, and fewer still genuinely great. You’d think we’d be running out of discoveries by now but Man, Pride and Vengeance (1967), from director Luigi Bazzoni and star Franco Nero, is a respectable find. Based on the novel Carmen by Prosper Merimee, with Nero as the loyal, straight-arrow soldier José demoted after he’s tricked by gypsy hellion Carmen (Tina Aumont), it’s the rare spaghetti western that is actually set in Spain, where it was shot.

In this take, José is has no fiancée to betray, which perhaps makes him more susceptible to Carmen’s flirtations, and Nero plays him as an affable career man whose equilibrium is completely upset by the surge of emotions—lust, rage, resentment, jealousy—that the wild free spirit brings out in him. Aumont makes a cheeky Carmen, not malicious so much as unapologetically mercenary and sexually independent but with a code of conduct that she follows faithfully. She pays her debts, which complicates José’s life more than he can handle. Soon he’s on the run from a murder charge and joins her criminal gang, where he meets her husband Garcia (Klaus Kinski), fresh out of prison and ready to take charge of the gang and take on anyone he sees as a threat. While José earns the nickname “Preacher” for his insistence on a disciplined plan and a non-violent execution of the stage robbery (both a moral and practical decision; murder brings out the soldiers in force), Garcia is like unstable dynamite pulled from the storage of a long prison sentence and ready to blow at the slightest nudge.

Things take a more savage turn when it leaves the city for the frontier, a dusty, desolate landscape of threatening hills, chalky trails, and sunbaked days that (along with Garcia’s taunting and baiting) eat at the gang as they hide out in primeval caves. But this isn’t about barbarous cutthroats picking off rivals. Bazzoni wrote the screenplay with Suso Cecchi d’Amico, one of the great screenwriters of Italian cinema (Bicycle Thieves, Miracle in Milan, Big Deal on Madonna Street, The Leopard, and many others), and they give the characters more complexity. These aren’t the bloodthirsty thugs who feed off of violence and chaos, merely folks born to this way of life, and they have their own moral codes and clan loyalties. In this Darwinian setting they provide an unexpected humanity and a contrast to José, whose own code is swamped by his emotional impulses outside of his military home. And best of all, Aumont’s Carmen is fascinating, a woman who pays her debts and honors her obligations, lives and loves as she chooses, and never apologizes for her choices. Aumont hasn’t the strength to give Carmen much depth but she does instill her with a lively spirit and an fierce way of taking life head on.

The film was also released under the title With Django Comes Death, just another of the scores of movies trying to cash in on the iconic hit. At least it stars the original Django himself, even if the sensibility is as far from the cold justice and pitiless violence of Django as can be.

The film debuts on Blu-ray and DVD in a new High Definition transfer from the original camera negative with both original Italian and English dub soundtracks and optional English, Italian, and French subtitles. Features commentary by Italian western experts C. Courtney Joyner and Henry C. Parke and the 28-minute interview featurette “Luigi, Vittorio & Franco,” featuring new interviews with Franco Nero and Vittorio Storaro (who was the film’s camera operator) talking about their lifelong friendship with one another and director Luigi Bazzoni, begun before any of them had experienced cinema success, and reuniting on this film to make good on their promise to one day all work together. It’s as touching as it is illuminating.

More new releases on disc and digital formats at Cinephiled

May 21 2015

Videophiled: Chaplin’s ‘Limelight’

Limelight

Criterion

Limelight (Criterion, Blu-ray, DVD), the final film that Charlie Chaplin made in the U.S., is both a bittersweet sentimental drama and a tribute to the music hall era of entertainment. Chaplin stars as a former vaudeville star now reduced to penury, living in a rundown boarding house and scraping by on occasional booking, and Claire Bloom is the delicate, young ballet dancer he saves from a suicide attempt and nurses back to health. Chaplin casts Buster Keaton for a single scene as his partner in a comic duet, making this film the only time the two silent comedy greats ever worked together, and the scene is wonderful. (Legend has it that Chaplin shortened the scene because Keaton was “too good” and kept drawing attention from him.) Nigel Bruce, Norman Lloyd, and Sydney Chaplin (Charlie’s brother) co-star, silent star Snub Pollard has a bit part, and Chaplin’s longtime silent movie co-star Edna Purviance made her final screen appearance in an unbilled role. Just as the film was released, Chaplin was denied re-entry to the United States for suspected Communist leanings (this was the height of red scare hysteria and the Hollywood blacklist) and the film was pulled from release as theaters cancelled screenings. Chaplin’s score won an Academy Award in 1973, after the film’s belated 1972 theatrical release in Los Angeles.

Criterion continues its Chaplin releases with a new 4K digital restoration. New to this edition are the video essay “Chaplin’s Limelight: Its Evolution and Intimacy” by David Robinson, interviews with actor Claire Bloom and Normal Lloyd, and the 1915 Chaplin short A Night in the Show. Carried over from the earlier DVD release are documentary featurette “Chaplin Today: Limelight” directed by Edgardo Cozarinsky for French TV, a four-minute scene deleted by Chaplin after the premiere, two excerpts from the original novel “Footlights” read by Chaplin, and the uncompleted 1919 short The Professor (where Chaplin played a flea-trainer for the first time). The accompanying booklet features an essay by silent movie historian Peter von Bagh and excerpts from a 1952 report from the set by journalist Henry Gris.

More new releases on disc and digital at Cinefiled

May 20 2015

Videophiled: ‘Day of the Outlaw’

DayOutlaw

Timeless

Day of the Outlaw (Timeless, DVD), a 1959 western set in a snowbound mountain town on the high frontier, is one of the toughest, most tension-filled pictures from Andre de Toth, a studio filmmaker who could be counted on to bring a savage edge to his assignments. The town is already coiled like a spring thanks to the tensions between imperious ranch baron Blaise Starrett (Robert Ryan) and a farmer (Alan Marshal) stringing barbed wire across the range—Blaise has come to town to either intimidate the proud farmer into back down or killing him to stop the wire—when an outlaw gang bursts in and essentially takes the town hostage. They’re on the run from the cavalry and their leader (Burl Ives) is bleeding out from a bullet wound, barely keeping his cutthroat gang in check.

The isolation of the town, a few building poking out of the muddy streets and surrounded by mountain ranges in the distance, feels even more adrift in the white blanket of snow cover and the wind howls through most every scene, enhancing the sense of desolation. It’s a spare visual design and de Toth leaves the dramatic compositions lean and simple and uncrowded. Ryan’s wound up stillness makes a great contrast to the increasingly jittery gang members, who pace and fiddle and keep moving toward the women. They look like they are about to fly apart like a bomb and start looting and raping, and the still intensity of Ives, who holds his gaze and his ground has he gives orders and watches over it all, is all that keeps it from combusting. A terrific, underappreciated western, it’s been on disc before in an edition now out of print. Timeless brings it back in a solid DVD edition at a bargain price. No supplements.

More new releases on disc and digital at Cinefiled

May 19 2015

Videophiled: Clint Eastwood’s ‘American Sniper’

AmericanSniper

Waner Home Video

American Sniper (Warner, Blu-ray, DVD, VOD) – For the past couple of decades, one-time screen superstar Clint Eastwood has been more active behind the camera than in front of it, plugging along with his old school filmmaking with a consistency that is hard to match. He’s already won Best Picture and Best Director Oscars twice (for Unforgiven, 1992, and Million Dollar Baby, 2004). And at age 85, he had the biggest hit of his career: American Sniper, based on the memoir by Navy SEAL sharpshooter Chris Kyle. The real-life Kyle who racked up more confirmed kills during his tour of duty in Afghanistan and Iraq than any other marksman in U.S. Navy history. He was also, as expressed in his memoir, an unrepentant bigot who saw the Iraqis as animals and admitted that he found killing people “fun.”

The movie has more in its mind than exploring Kyle’s psyche, or at least this aspect of it. He’s played by Bradley Cooper, who pumped up for the role and plays the part with unshakable belief and confidence in his mission, and the film is about what inspired him to enlist and the toll of combat on his psyche. Kyle has a sense of duty and honor that is ignited when American embassies are attacked overseas, and as his commitment (and reputation as a marksman) grows, his ability to function stateside as a husband and father diminishes. He’s more comfortable leading combat missions than being there to support his wife Taya (Sienna Miller), who is torn apart every time to re-ups for another tour of duty. Eastwood’s clean, strong storytelling is perfect for the story and his direction of the combat scenes is all the more powerful for its clarity and focus. Kyle has to make life and death decisions in the field. His targets include women and children. He doesn’t want to kill any innocents, but protecting his men is his mission.

Eastwood steers clear of politics—it’s not about questioning the mission, it’s about how this kind of warfare wounds victims and survivors alike and how the skills and temperament necessary to be a good (if not great) soldier in combat are a detriment to living in peacetime. And while conservatives appreciated the film’s valorization of service and the military culture of duty and comradeship, liberals saw the message of how the same military culture that turned them into soldiers fails to retrain them for stateside life. For that, Kyle turns to fellow vets and once again becomes a leader of men.

This film was an unexpected blockbuster, earning over $350 million in the U.S, and it was nominated for six Academy Awards, including Best Picture, Best Actor (Cooper), Best Adapted Screenplay, and it won for Best Achievement in Sound Editing.

Blu-ray and DVD, with the half-hour featurettes “One Soldier’s Story: The Journey of American Sniper” and “The Making of American Sniper” and an Ultraviolet Digital copy of the film. The Blu-ray also features a bonus DVD and Digital HD copy of the film.

More new releases on disc and digital at Cinefiled

May 16 2015

Videophiled: Two by Roger Corman with Ray Milland

PrematureB

Kino Lorber Studio Classics

Vincent Price starred in all of Roger Corman’s Poe adaptations but one. Ray Milland took the lead in The Premature Burial (Kino Lorber Studio Classics, Blu-ray, DVD), playing Guy Carrell, an aristocrat with crippling fear that he will be buried alive due to a family history of catalepsy. Corman brings the fear home in the opening scene: an exhumation of an ancestor who shows every sign of having awoken in his casket. The obsession overtakes his life until the rather elderly newlywed moves into the family crypt, which he outfits as a Batcave of escape hatches, much to the horror of his neglected bride (Hazel Court), who observes that he has already “buried himself alive” and makes him chose the crypt or life with her.

Like most of Corman’s Poe films, the script (this one by Charles Beaumont and Ray Russell) borrows little more than the central idea and the title from Poe. This one owes as debt to Gaslight and Diabolique, and of course leans on the art direction of Daniel Haller (who created a sense of grandeur on a budget) and the widescreen color cinematography of the great Floyd Crosby, who photographed Tabu (1931) and High Noon (1952) and here gives Corman his atmosphere. While Hammer was reviving the classic movies monsters as gothic horrors with lurid edges and color, Corman was creating his own Gothic horror revival with ideas influenced by Freud and Jung. Corman creates his world completely in the studio, including the grounds outside the manor, a veritable haunted forest of dead trees, ever-present mist hugging the boggy ground, and a pair of creepy gravediggers (John Dierkes and Dick Miller) constantly lurking and whistling the folk song “Molly Malone” as a dirge-like threat.

Though Carrell is supposed to be older than his lovely young wife, Milland is aged beyond the role, though he quite valiantly attempts to appear younger while also playing the haunted, sequestered, tortured soul. His bearing and deep, authoritative voice holds the center of every, whether he’s the romantic husband swept up in the promise of a happily ever after or the tormented obsessive spiraling into the madness of obsession. Alan Napier, best known in genre circles for playing Alfred in the sixties TV Batman, has a small but delicious role as the arrogant father of the bride, a medical doctor with little affection and even less sentimentality for his son-in-law.

The colors are good if not quite as strong as some of the previous Corman Poe Blu-rays. Joe Dante discusses the film in the new 9-minute featurette “Buried Alive!” and a video interview with Corman from the 2002 DVD release (where he explains how Milland ended up in the role rather than Price) is included, along with the “Trailers From Hell” presentation with Corman’s commentary.

XManXray

Kino Lorber Studio Classics

X: The Man with the X-Ray Eyes (Kino Lorber Studio Classics, Blu-ray, DVD) reunites Corman and Milland for a science fiction thriller by way of a Greek tragedy. Milland is Dr. James Xavier, who experiments with a formula that will the human eye to see beyond the wavelength of visible light. “Only the Gods see everything,” cautions a fellow scientist. “I am closing in on the Gods,” responds Xavier with the hubris that is doomed to destroy his over-reaching ambition. Peeping through the clothes of comely women is all good adolescent fun until the gift becomes a nightmare as his sight rages out of control.

Charles Beaumont once again scripts this twist on the tale of a scientist who risks everything to explore the unknown and is finally driven mad by, literally, seeing too much. The possibilities suggested in the hints of addiction and inconsistent bouts of megalomania remain tantalizingly unexplored in the unfocussed script and Corman’s cut-rate special effects are often more hokey than haunting (the “city dissolved in an acid of light” he poetically describes becomes fuzzy photography through a series of color filters). But there is an edge to the B-movie machinations. Don Rickles offers a venal turn as a scheming carnival barker turned blackmailing con man and Diane Van Der Vlis is understanding as a sympathetic scientist who tries to rescue Xavier from his spiral into tortured madness, but in the tradition of Greek tragedy he is doomed to be destroyed by the very gifts he desires.

This release features two commentary tracks—filmmaker Roger Corman’s commentary from the original 2002 DVD release and new commentary by film historian Tim Lucas—plus “Terror Vision!,” an interview featurette with Joe Dante and the “Trailers From Hell” take on the film with Mick Garris providing the commentary.

More new releases on disc and digital formats at Cinephiled

May 12 2015

Videophiled: ‘Still Alice’

Sony

Still Alice (Sony, Blu-ray, DVD, VOD) – Julianne Moore won her first Academy Award (after four nominations since Boogie Nights in 1998) playing a renowned linguistics professor who is diagnosed with early-onset Alzheimer’s disease and starts to experience her identity, her sense of self, slipping away. It’s the kind of performance that doesn’t just support a film, it gives the film its breath of life.

Dr. Alice Howland is in the prime of life: happily married to a fellow academic (Alec Baldwin), the mother of three grown children, an expert in her field, and a professor at a respected university where she enjoys teaching. It comes on slowly: losing a word while giving a lecture, misplacing items, forgetting appointments, and finally getting lost on a routine jog across the campus that’s a second home to her. When the worst is confirmed by a neurologist, the denial is replaced with coping mechanisms, though even those are a temporary measure as the decline speeds up and that sharp intellect softens and falters, along with her own body. As she loses her identity along with her memories and her attention span, her eyes start to fog over and her body seems to collapse into itself, deflating like fragile old woman aging before her time. She becomes something of a ghost of her former self and it is heartbreaking, thanks to the depth and nuance with which Moore inhabits the mental and physical deterioration.

Adapted from a novel by Lisa Genova with compassion and sensitivity, this was clearly a labor of love from Richard Glatzer and Wash Westmoreland, partners in filmmaking and in life (they married in 2013). Glatzer co-directed while his body was breaking down from complications of ALS and died a few months after the film was released. It’s hard to imagine that Moore’s commitment to the role wasn’t in some way touched by his ordeal.

Kristen Stewart stands out from a fine cast as Alice’s youngest daughter, a free spirit who cuts through the denial to sustain whatever is left of her mother for as long as she can while her siblings seem to distance themselves, as if it were a communicable disease (it’s actually genetic, which means one of them may have inherited the condition—another prime arena for denial). So long dismissed for the Twilight films, Stewart is a smarter and more engaged actress than she’s often given credit for and she suggests a history behind this quietly resilient mother-daughter bond.

The rest of the film is admirable but never as nuanced or as rich as Moore’s performance. The cocoons of success, supportive family, and an academic and medical community that provides the best care available in New York can’t stop or even slow the ravages of the disease but it does provide a support net greater than any of us will know. Maybe that makes her inevitable decline even more affecting, but it does give us reassurance that even as she loses herself, her family will not forget her.

Blu-ray and DVD with the featurettes “Directing Alice” and “Finding Alice” and an interview with the composer. Also available on Cable On Demand and digital VOD.

More new releases on disc and digital formats at Cinephiled

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