Category: Uncategorized

May 07 2014

Blu-ray: ‘King of the Hill’

King of the Hill (1993) is the third feature from Steven Soderbergh, who jumped to the head of the American independent scene when sex, lies and videotape took the Audience Award at Sundance 1989 and went on to win the Palme d’Or at Cannes before getting a wide release in suburban multiplexes. His second film, Kafka (1991), wasn’t a success but it revealed a serious filmmaker who wanted to explore different subjects and genres. King of the Hill continued that tradition in that is was yet again a complete change of style and subject matter for the director: an adaptation of the memoir by A.E. Hotchner about life as an adolescent during the Depression. It was also his first studio production, made for the fledgling Gramercy Pictures, and it gave him the biggest budget of his career. He was able to craft a rich recreation of early thirties St. Louis as seen through the eyes of a hopeful boy in an increasingly desperate situation.

Jesse Bradford is Aaron, a smart, creative, generous high school kid who spins stories to hide the fact that his family is broke and living out of a hotel, where they are behind in the rent. To stay in his high school, a well-maintained school filled with affluent kids (Aaron is “a charity case,” as one of his affluent classmates describes him), he and his kid brother Sullivan (Cameron Boyd) have to keep up the fiction that they reside in a nearby apartment house. His dad (Jeroen Krabbé) is a salesman hawking “wickless candles” that no one is buying while he waits for one of his many applications to pay off with a better job. Aaron picks up odd jobs as he can with the help of Lester (Adrian Brody in his first major role), an older kid who looks over Aaron like a big brother. Lester knows the angles and hustles his way to survival and his mentorship gives Aaron the skills and strength to survive when he’s force to take care of himself.

Continue reading at Turner Classic Movies

May 05 2014

Videophiled Criterion: It’s a Don Siegel ‘Riot’

RiotCell11

It may not have been obvious at the time but Riot in Cell Block 11 (Criterion, Blu-ray+DVD Combo, DVD) was a perfect match of film and filmmaker. Don Siegel later made a name for himself with his gritty Clint Eastwood collaborations (not to mention is brilliant Invasion of the Body Snatchers) but was just a promising journeyman director when he embarked on this low-budget 1954 film, a project initiated by producer Walter Wanger after he served a short sentence for assault with a deadly weapon (he shot a man that he thought was sleeping with his wife, Joan Bennett). Riot gave Siegel a situation where violence was a defining element of the world and the people in it, a power always threatening to blow up and burn out control, and he used it to create a powder-keg of thriller with a message underneath the drama.

It begins with a newsreel-like prologue to establish its ripped-from-the-headlines bonafides—”Where will the next riot occur?” teases the narrator after showing us a succession of protests in prisons across the country—and then jumps into the fictional story of a carefully-planned riot in the punishment block of an overcrowded prison. (Phil Karlson used the same structure a year later for an even more explosive The Phenix City Story.) Neville Brand, a real-life war hero who made a career playing Hollywood villains thanks to his tough manner and scuffed-up face, is the ringleader of this protest, a convicted killer who has no agenda but to call attention to prison conditions. His fellow inmates are not so committed to his restraint, however, and the prison guard hostages are in constant danger of retribution from vindictive prisoners, especially Leo Gordon as a sociopath who has no interest in curbing his impulses. The warden (Emile Meyer) is not only sympathetic to their demands, he’s already complained to the state about the prison overcrowding and understaffing, lack of education and training programs for the inmates, and insufficient training for the guards, but the state politics demand a policy of no negotiations with rioters, which just raises the stakes and the temperature of the stand-off.

Siegel helms this film with both a hard-edged portrait of the violence and desperation of the situation and an intelligent engagement with the issues. Most of these guys have nothing to lose. Others are so angry that they riot in sympathy, whether it helps or not (in this film, it’s both). Brand holds the center as a both, a guy ready to follow through on his threats if necessary but restrained and far-sighted enough to hope it doesn’t come to that. He’s fighting the power on both sides: holding back what is close to a paramilitary response from the outside while trying to keep the volatile chemistry inside from combusting. He’s sympathetic to the prisoners without whitewashing their crimes or their violent nature. Much of the film was shot on location at Folsom Prison with guards and prisoners serving as extras and advisers, which gives the film added authenticity, but it’s Siegel’s direction that really lights the fuse. And Siegel is aware of the tension between social message and violent spectacle; he, like Brand’s character, realizes that it takes a big story to get people to pay attention to the issues. Siegel, however, is more interested in the personalities and the conflicts and the lengths to which both sides will go in this war.

It’s mastered from a new 2K digital restoration in Academy Ratio (1.37:1), which has raised some debate; in some shots the headroom is distracting and the film looks like it should be masked to 1.66:1 widescreen, in others it looks well balanced and composed. Clearly the film was protected for both aspect ratios, but it’s not clear which the director’s preferred or intended format was. Features commentary by film scholar Matthew H. Berstein, audio excerpts from the director’s autobiography “A Siegel Film” and Stuart Kaminsky’s 1974 book “Don Siegel: Director,” both read by Siegel’s son Kristoffer Tabori, and excerpts from the 1953 NBC radio documentary series “The Challenge of Our Prisons,” plus a fold-out booklet with an essay by Chris Fujiwara.

More Criterion releases at Cinephiled

Mar 31 2014

DVD: ‘The Broken Circle Breakdown’

The title of the The Broken Circle Breakdown, a major hit in its native Belgium and an Oscar nominee for Best Foreign Language Film in the U.S., is a riff on the American country spiritual “Will the Circle Be Unbroken.” This is the story of a great love and a devastating loss, and it indeed confronts a breakdown, both figurative and literal, in the family circle. The song opens the film, performed by a bluegrass band in Belgium fronted by Didier (Johan Heldenbergh), a one-time punk rocker who fell in love with American roots music. He learned to play the banjo because it’s the closest instrument to the wail of the rock guitar. At least that’s how he explains it to Elise (Veerle Baetens), a tattoo artist who has turned her own body into a canvas for her work, on their first date.

That first date comes later in the film. Our introduction to Didier and Elise is in 2006 as they await results from a test that their young daughter Maybelle (Nell Cattrysse), named for Maybelle Carter of course, is undergoing. They are trying to hold it together to give their little girl all the strength and optimism they can muster. As this present-day drama unfolds, we slip back seven years to the early, heady days of their romance. It’s practically love at first sight and they form an instant connection; the way the flashbacks jump through their life together, it looks like she moves in the next day. Their personal harmony is picked up in the band, where she joins the ensemble in duets with Didier, then as a lead singer and guitar player. His stunned, defensive reaction to the news that she’s pregnant is the only sour note of their love song and he quickly recovers by starting a verse.

Continue reading at Turner Classic Movies

Mar 22 2014

‘Kiss Them for Me’ on TCM

Cary Grant was nearing the end of his career when he made the World War II comedy Kiss Them for Me (1957) but the charismatic leading man was still one of the most debonair actors on the screen as well as a deft comic player. Kiss Them for Me, which he made between An Affair to Remember (1957) and Indiscreet (1958), leans more on the comic than the debonair.

Based on a 1944 Broadway comedy (itself adapted from the novel Shore Leave by Frederic Wakeman), it concerns three naval fliers recuperating from injuries in a Pearl Harbor hospital who finagle a last-minute shore leave (their first since entering combat) for four days of escape from all things military. Grant is the ringleader of the trio, the wheeler-dealer who secures the leave with nothing more than a verbal okay, arranges transport to San Francisco on a cargo plane, and whips up a party out of nowhere in a lavish hotel suite. “I came here to get drunk and chase girls and that’s what I intend to do,” he proclaims and he studiously keeps to his goal even while he’s pressured to make public appearances as the “war hero” to rouse the patriotism of homefront workers.

Continue reading at Turner Classic Movies

Plays on TCM on Monday, March 24

Mar 19 2014

Blu-ray: ‘The Long Day Closes’

Terence Davies, an actor turned filmmaker who directed his first short film in 1976, has made a mere six features since 1988, when he released his debut feature Distant Voices, Still Lives. Like his earlier shorts, Distant Voices was an autobiographical film about growing up in Liverpool in the 1950s, beautiful but somber and almost heartbreaking in its portrait of a family living in fear of its angry, alcoholic father.

The Long Day Closes, released four years later in 1992, isn’t a sequel in any literal sense of the term – none of the actors return and the names of the characters are all changed – but it nonetheless carries on the story of Davies family after the death of his father with the focus on a character absent from the earlier film. 12-year-old Bud (Leigh McCormack) is the youngest in a loving family looked over by an affectionate widowed mother (Marjorie Yates). A sweet, quiet schoolboy in love with the movies, he’s Davies’ stand-in in a film that offers a fictionalized reflection on what Davies described as the happiest days of his life.

Just like Bud, The Long Day Closes is in love with the movies. After a still life of an opening credits sequence that plays like an elegant tribute to the title sequences of films from the 1940s and 1950s, the familiar 20th Century Fox fanfare takes us into a rainy Liverpool alley plastered in posters. The fanfare segues into Nat King Cole singing “Stardust” as the camera glides down the alley at a graceful stroll.

Continue reading at Turner Classic Movies

Mar 11 2014

Videophiled: ‘Inside Llewyn Davis’ Folk and ‘The Broken Circle Breakdown’ Bluegrass

insideLlwen

Inside Llewyn Davis (Sony, Blu-ray, DVD, On Demand), the latest by the Joel and Ethan Coen, was almost entirely overlooked at the Oscars this year. Perhaps that’s because, despite the astounding recreation of the Greenwich Village scene and an atmosphere and texture that you can almost feel through the screen, struggling folk singer Llewyn (Oscar Isaac) is not a particularly likable guy. Which is not to say he’s a villain or even a bigger jerk than some of the folks around him, but while he’s not mean-spirited or malevolent (well, apart from that one time, and you’ll know it when you see it), he is insensitive and self-absorbed. Despite the beauty of his musical performances, he doesn’t connect with people. And he certainly doesn’t get what folk audiences see in the rest of the musicians struggling for an audience at the local folk clubs.

Inside Llewyn Davis is a road movie that circles back on itself in pretty much every way, a road to oblivion that Llewyn tramps in hope of finding his success, but is not a success story. Llewyn has been called “a loser” by some critics, but that’s not fair. His failure isn’t artistic, it’s commercial, and he endures the bad luck that afflicts so many of the hard-luck characters of the Coen Bros. universe without the comic bounce or dogged resilience that saves those few who persevere. That sly, sardonic Coen tone is more understated here, found in the little details of existence and the odd nuances of the offbeat characters (and John Goodman is truly one outsized, offbeat creation as a jazz musician with a heroin addiction) and the unusual situations that get amplified and echoed throughout the film. Just don’t expect the punchlines or big dramatic payoffs you get from other filmmakers. It’s not altogether satisfying necessarily, but neither does it let go when it’s over. The music, which T-Bone Burnett once again helped create for the Coens, is superb.

Continue reading at Cinephiled

BrokenCircle

The Broken Circle Breakdown (Tribeca, DVD, Digital, VOD), one of five nominees for the Best Foreign Language Film at the Oscars this year (it lost to The Great Beauty), is devastating. And I mean that in all the best ways. The story of a passionate love rocked by tragedy, it is both joyous and anguished, celebratory and sad. It’s set in a subculture of bluegrass aficionados in Belgium (who knew?), where it is practically love at first sight for banjo player and singer Didier (Johan Heldenbergh, who also wrote the original play) and tattoo artist Elise (Veerle Baetens), who soon joins the band as the sole female voice in the male harmonies. When their child, a little girl showered with love, is diagnosed with a deadly illness, they face the crisis in very different, unharmonious ways.

Director Felix Van Groeningen breaks up the timeline, introducing the couple as the try to hold it together while their daughter undergoes hospital tests and procedures and then flashing back to their early romance to contrast with the contemporary story. The structure gets more fractured as it continues, amping up the anxiety and the urgency of their ordeal. But while the film doesn’t flinch from the heavy toll it takes on Didier and Elise and their relationship, this isn’t all about ordeal. Johan Heldenbergh and Veerle Baetens are compelling performers who invite you to invest in their lives and the band provides a community of support and love for them and their daughter. The music they make, all covers of classic bluegrass songs, overflows with joy, just as the romance that plays out in flashback. The triumph of Van Groeningen is wrapping the heartbreak and anger up in the love and the support and leaving us celebrating what was rather than mourning what’s lost.

More New Releases on disc and digital at Cinephiled

Feb 24 2014

Videophiled Classic: ‘Successive Slidings of Pleasure’ in Alain Robbe-Grillet’s ‘Trans-Europ-Express’

TransEurop

Two films by novelist-turned-filmmaker Alain Robbe-Grillet make their American home video debut this week. Best known as an experiment novelist in the nouvelle roman movement of the fifties and as the screenwriter of Alain Resnais’ elegant yet conceptually daring French nouvelle vague landmark Last Year at Marienbad, Robbe-Grillet was also a filmmaker in his own right. He directed ten features in a career that spanned over 40 years and Trans-Europ-Express (Kino / Redemption, Blu-ray, DVD), a lighthearted play with spy movies, erotica, and storytelling from 1966, was his most popular success and most audience-friendly production.

Three filmmakers (one of them played by Robbe-Grillet himself) board a train and begin working out the story for a film about drug trafficking. When the actor Jean-Louis Trintignant briefly ducks into their cabin, he’s quickly cast as their main character, Elias, a smuggler involved in a big score with a shady criminal. Their sketchy, silly little plot (as illustrated in a gag sequence right out of a silent movie parody) suddenly gets a face and a grounding. As much as a film that is constantly rewritten and revised on the run can be said to be grounded.

Think of it as his Breathless, a pulp story refracted with his own distinctive take on narrative deconstruction and sexual perversity. It’s a film that plays out in parallel, an illustration of the story being spun on the train, and Robbe-Grillet plays with the gimmick as scenes are constantly revised and rewritten by the trio, which sends the spy movie rewinding and twisting back on itself. But the director doesn’t make the equation so literal; multiple versions seem to spin out of the revisions and the fiction crosses over into the “real” world of the filmmakers. Call it quantum storytelling. Trintignant is at once Jean-Louis the private citizen (a man with a furtive fascination with pornography), Elias the character (who likes a little bondage in his prostitutes), and Trintignant the actor playing the character Elias, and the story is both a fictional construct and a “real” event, perhaps brought to life by the storytelling itself. Dead characters come back to life and the entire seems poised to begin again once the filmmakers disembark. Just like heading back into the pleasures of cinema stories and their mix of contrived twists and visual spectacle.

The 1974 erotic thriller Successive Slidings of Pleasure (Kino / Redemption, Blu-ray, DVD) stirs murder and sadomasochism in a kinky mix of sexploitation and art cinema.

Continue reading at Cinephiled

Feb 05 2014

Blu-ray: ‘The Hunt’

Thomas Vinterberg not only spearheaded the Dogme 95 movement with Lars von Trier, he made people pay attention to it with his 1998 feature The Celebration (aka Festen), a searing family drama of raw emotion, primal rage, and healing solidarity strewn with dark humor and discomforting situations. The Hunt is not bound to the self-imposed restrictions of the Dogme movement but otherwise it returns to the same intensity of volatile emotions and social transgressions. It’s uncompromising and uncomfortable, a film that had me knotted up in anxiety yet unable to turn away, and it’s Vinterberg’s best film since The Celebration.

Mads Mikkelsen stars as Lucas, a dedicated teaching assistant at a pre-school in a small town in Denmark, and Annika Wedderkopp is Klara, the pre-school-age girl who adores this gentle man, a family friend whose warm presence is an escape from the tension at home. In a moment of childish pique after he admonishes her for kissing him on the lips (“That’s reserved for Mom and Dad,” he insists), she spits out some angry comments mixed with sexually-suggestive phrases overheard from her brother and his porn-obsessed buddies. She clearly has no idea what these words actually mean and there is no malicious intent, merely a child blowing off steam, but the ambiguous comments quite rightly lead to an investigation of possible child sexual abuse.

Continue reading at Turner Classic Movies

Feb 05 2014

Videophiled: ‘Dallas Buyers Club’

DallasBuyersClub

Matthew McConaughey is so good in Dallas Buyers Club (Universal, Blu-ray, DVD, Digital HD, VOD, On Demand) that he shows up the limitations of this based-on-true-events drama. McConaughey lost a lot weight to play Ron Woodroof, a Texas electrician and rodeo rider in the late 1980s whose reckless lifestyle leaves him with AIDS, a diagnosis this redneck homophobe denies vehemently before educating himself on the disease and the dangers of the early treatments.

It’s a story of outcasts and mavericks who pursue an alternative approach to fighting AIDS outside of the oversight and restrictions of the FDA and the AMA, or at least that’s how it presents itself. That it succeeds with so many audiences is testament to the way director Jean-Marc Vallée puts us in Ron’s perspective as his body breaks down, and to the performances by McConaughey and Jared Leto. McConaughey plays up his drawling charm without losing the con man and bigot under the denial and self-destruction of Ron, and his turnaround isn’t a matter of evolution so much as survival. Leto is equally good as Rayon, a transsexual in the midst of reassignment regimen who teams up with Ron to set up the “buyers club” to bring medication in from Mexico. They both earned Oscar nominations and Golden Globe wins for their work.

The rest of the cast of characters are just there to prop up the script’s narrative needs. Jennifer Garner’s sympathetic doctor ends up in the generic supportive girlfriend role to the unlikely activist Ron (even though she’s not really his girlfriend) and Denis O’Hare’s establishment doctor is so blindly obedient to the drug companies that he refuses to look at studies on the side effects and toxic properties of AZT. The film takes Ron’s side unilaterally in its portrait of the FDA, the medical profession, and big pharma as a cabal stifling innovation and suppressing contradictory research on the “wonder drug” AZT. There is probably an interesting story on the politics and medical controversy over the drug to be explored, but it’s nowhere to be found in this script, which nonetheless received a nomination for Original Screenplay. It earned six nominations in all, including Best Film.

More New Releases at Cinephiled

Jan 28 2014

Videophiled: ‘The Fifth Estate’ and ‘Argento’s Dracula’

FifthEstate

The Fifth Estate (Touchstone, Blu-ray, DVD) – Benedict Cumberbatch makes such a fascinating Julian Assange that it only focuses attention the problems with Bill Condon’s portrait of Assange, WikiLeaks and the Bradley Manning revelations.

Ostensibly about how Assange and WikiLeaks rocked the word with a whistleblowing leak on a scale unseen since The Pentagon Papers, the film is more fascinated with the contradictions within the character of Assange, whose achievements were almost eclipsed by accusations of sexual misconduct and his flight from extradition, than on the reverberations of the web publication of classified documents.

I guess it’s no surprise that, like so much of the reporting on the issue, the real story—of government lies, of the vulnerability of secret information, of what the leaked intelligence does to our trust in our own government—is sidelined by the human sideshow.

As sideshows go, Cumberbatch is riveting as the thin white duke of digital activism, a churlish Sherlock under a white bleach job and pasty pallor who wants to be thought of as the mysterious mastermind in the shadows while playing the flamboyant showman for an audience of hackers. Is he an idealist who dedicates his entire life to fighting power or a pathological liar with an ego-driven personality, a holier-than-thou arrogance and a need for attention that trumps social activism? To put it in computer-age terms, it’s a film in a binary universe, all about singular contradiction as defining characteristics rather than a spectrum of detail. And when it comes to the WikiLeaks web network, Condon’s visual metaphors present the digital world with analogue sensibility. Or maybe an MTV video from a decade ago.

Daniel Brühl is the junior partner he adopts to help out what was essentially a one-man crusade hidden behind a digital network that suggested a small army of conspirators and ends up challenging and alienating Assange. Laura Linney, Anthony Mackie and Stanley Tucci stand in for the American intelligence community in a subplot that pretends to illustrate how the information dump put the life of an ally in peril, a storyline more calculated than convincing. What should be the 21st century All the President’s Men forgoes the complexity of the issues to hammer on the big contrasts and makes Assange’s petty personality eccentricities more of a focus than his actual accomplishments.

Blu-ray and DVD with three featurettes plus trailers and TV spots. The Blu-ray edition also features a bonus DVD and UltraViolet Digital HD copy for download and instant streaming.

Argento'sDracula

Argento’s Dracula (IFC Midnight, Blu-ray+Blu-ray 3D, DVD) is how it reads on the disc case. On the screen it’s Dario Argento’s Dracula and on the IMDb it’s Dracula 3D. Any way you list it, this Dracula feels like the last gasp of a once creatively mad cinematic chemist, stirring combustible colors and unstable reactions into strange concoctions of murder and madness. There is a vibrancy to some of the art direction and set design in this busy but oddly inert take on the Bram Stoker novel, which adds a bunch of mayhem but else to justify yet another take on the same story, but over the last couple of decades Argento seems to have lost all sense of directing actors. The performances are all over the place here, some of them stilted and stuffy as if in a Victorian stage piece (Unax Ugalde’s Jonathan Harker looks like a dazed clown trying to remember marks), others sloppily hamming it up (Darios’s daughter Asia is one of the guilty parties on that score). Only Rutger Hauer brings a sense of history to his character when he appears around the 2/3s mark as a melancholy Van Helsing, as if his calling carries a high price in terms of loss and sacrifice.

Continue reading at Cinephiled

Jan 16 2014

DVD: ‘You Ain’t Seen Nothin’ Yet’

In the opening scenes of You Ain’t Seen Nothin’ Yet, a roll call of France’s most celebrated actors of stage and screen from the past four decades are contacted with the sad news of the passing of a playwright, the author of an updated reworking of Orpheus and Eurydice.

The playwright, Antoine d’Anthac, is fictional, the creation of real-life French playwright Jean Anouilh in the play Cher Antoine ou l’amour rate, which director / co-screenwriter Alain Resnais drafts to stand in for Anouilh as the author of his play Eurydice. The actors are real – among them Mathieu Amalric, Pierre Arditi, Sabine Azéma, Anne Consigny, Hippolyte Girardot, Michel Piccoli, and Lambert Wilson – playing fictionalized versions of themselves. In this incarnation, they have all appeared in productions of Eurydice on the Paris stage and have been invited to the playwright’s country mansion for his wake, which in this case is a posthumous request to watch a fresh interpretation performed by a young company to judge whether they are worthy of staging a new production.

You could call it a film within a play, or a play within a film, but neither really captures the Russian nesting doll quality of the deft merging and doubling of the two arts. I see it as living theater meeting the cinematic imagination of Alain Resnais, who wraps Anouilh’s two plays around one another for a new creation.

Continue reading at Turner Classic Movies

Dec 18 2013

Videophiled: Rebel Rebel – ‘Elysium’ and ‘Ain’t Them Bodies Saints’

Elysium

Elysium (Blu-ray Combo, DVD, Digital HD, On Demand) showed up more than any other film in the Criticwire survey of Biggest Disappointments of 2013. Don’t get us wrong; Elysium is a fun film with a slightly subversive political message, but its commentary plays out in the most conventional ways. Matt Damon is a former car thief trying to go straight as a factory worker in a Los Angeles of the future turned third world slum, who gets a death sentence thanks to technical glitch and a system that treats him like a disposable piece of equipment. He’s no revolutionary but he is desperate and angry and he takes on the 1 percent by invading their space station penthouse in the sky to unlock their protected technology for all.

This is a dystopian science fiction thriller rooted in the fury of income inequality and loaded with a plea for universal health care. The disappointment is how director / writer Neill Blomkamp (District 9) failed to capitalize on the premise, turning a potentially whipsmart sci-fi thriller into a conventional spectacle where technology is a gimmick, the action blurs into messy scenes of hyperkinetic editing and the battle against the system becomes an action cartoon. Jodie Foster is the ice queen security chief villain plotting a virtual coup during the chaos and Sharlto Copley plays the mangy bounty hunter as a sociopath handed a license to kill.

The DVD includes two featurettes and an UltraViolet Digital HD copy for download and instant streaming. Exclusive to the Blu-ray are four additional featurettes and an extended scene.

AintThemBodies

Ain’t Them Bodies Saints (MPI, Blu-ray, DVD, Digital) plays like the cinematic answer to an outlaw folk song. Rooney Mara and Casey Affleck play lovers Ruth and Bob, separated when Affleck heads to prison (taking a murder rap to protect his pregnant love). Ruth settles down to raise their daughter, looked after by Bob’s shady but loyal father figure (Keith Carradine) and looked in on by a lovesick policeman (Ben Foster), when Bob decides he can’t live without seeing her and escapes lockup.

Director David Lowery’s filmmaking is assured, with a portrait of rural Texas slipped out of time, straddling the entire era from the Great Depression to the seventies recession and smudging any clues that would definitively set the year. He has an attention to tone and atmosphere, to the nowness of the moment, letting it all settle into the image and the narrative, while the quality of light (from the magic hour exteriors to interiors lit by hurricane lamp and incandescent bulbs) warms the film while coloring it like a yellowed memory. Comparisons to Terrence Malick are not misplaced, but this has more in common with Altman’s Thieves Like Us than Badlands, with Affleck as both a wild kid and cold killer and Mara as devoted mother and lover balancing her heart’s desire with her realist’s understanding of how his desperate prison escape is destined to end. For all the poetry of his filmmaking, this isn’t the romance of outlaw innocents on the run. This life doesn’t offer happy endings, but these people do have a kindness and compassion that makes the effort worthwhile.

Blu-ray and DVD editions feature a documentary and deleted scenes among the supplements, but the more interesting bonus is Lowery’s debut feature St. Nick, never before released on disc.

More releases, including Museum Hours (Cinema Guild, Blu-ray, DVD), The Lone Ranger (Disney, Blu-ray, DVD, Digital HD, On Demand), and Prisoners (Warner, Blu-ray, DVD, Digital, VOD, Cable On Demand), at Cinephiled.

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